May 22, 2016 Modern Art & Design Auction

MODERN ART & DESIGN MAY 22, 2016

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Preview May 9–21, 2016 10am–6pm (PT) Auction May 22, 2016 12pm (PT) 16145 Hart Street Van Nuys, CA 91406

The Power of Proximity The department of Architecture & Design at the

exhibitions to provide additional context and greater

Museum of Modern Art is one of the great constants of

understanding of a curator's vision. After my initial

my life. Whenever I happen to be in New York, I know

knee-jerk reaction of horror (those galleries were, in my

the best hour of my entire trip is when I can visit the

mind, the very validation of my chosen field—my Mecca),

galleries on the third floor just past Arthur Young's

it occurred to me that MoMA's evolving philosophy is not

suspended Bell-47D1 Helicopter. To me it's like going to

dissimilar to my own. In fact, this idea dovetails nicely

see an old friend.

with what LAMA has been promoting since our first auction in 1992: design and art should be shown together.

So, I have to admit I was startled by the museum's

Whether one is an historian, a dealer, a collector, or just

announcement in April that the galleries dedicated to

a fan of design, understanding one branch of modernism

architecture and design will be closing and are to be

can only be enhanced by its proximity to other disciplines.

repurposed, although over the last few years there have been signs that things were changing. In his

So then, until design makes its triumphant return to

introduction to the 2013 update of "MoMA Highlights:

MoMA, we are happy to present some classic works of

350 Works from The Museum of Modern Art"—the

design and art together in our catalogue. For example,

institution’s seminal overview of its holdings—MoMA

in this printed catalogue Isamu Noguchi's Rudder coffee

director Glenn D. Lowry states that the museum’s

table can be seen paired with Ellsworth Kelly's Black

"fundamentally taxonomic approach [of separating

Curve I (White Curve I)—a perfectly logical association.

galleries by department] has sometimes resulted in a

A less obvious, but equally pleasing juxtaposition is that

relatively static reading of modern art, with a clearly

of George Nelson's Home Office desk from 1948 with

defined set of physical and conceptual paths through

Roger Herman's Square Amanita from 1993. And in the

the collection. Over the last fifteen years, however,

arrangement of works for our salesroom preview, we will

the Museum has become increasingly aware of the

use the exhibition space to further encourage dialogue

importance of interdisciplinary approaches to the

between many more disciplines—by styles, dates, or

presentation of its collection."

mediums. As always, enjoy the catalogue and please come to the preview to see these many different works

The implication is that MoMA will no longer have

in person.

galleries devoted to specific mediums, but will instead now incorporate design and architecture into other

Peter Loughrey, Director

1 CHARLES & RAY EAMES Sofa

Herman Miller, designed 1976-1984; this example produced 2006 Model no. ES108 Retains Herman Miller sticker Together with Herman Miller brochure and certificate from Herman Miller 33" x 79" x 33" LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 451.

$5,000–7,000

2 CHARLES & RAY EAMES Coffee table

Herman Miller, designed 1946 Model no. CTM 15" x 34" diameter LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 82.

$1,000–1,500

ARMCHAIR SOLD WITH LOT

3 CHARLES & RAY EAMES Shell armchair

Herman Miller, designed 1950-1953 Model no. MAX Together with a charcoal standard armchair shell with an H-base 27" x 25" x 24"

$600–900

4 DAVID CRESSEY Planters (2)

Architectural Pottery, designed c. 1970 Glazed stoneware Each: 20" x 12" diameter P ROV E NANC E Rita and Max Lawrence, Bel Air, California; Thence by descent

$1,000–1,500

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5 GEORGE NELSON

Home Office desk and stool (2) Herman Miller, designed 1948 Model nos. 4658 & 601 (desk) and 4672 (stool) This example contains the original Pendaflex file basket, which was a special order, and a stool Desk: 41" x 54" x 28" Stool: 20.5" x 19.5" x 18" LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 258.; The Herman Miller Collection furn. cat. 1955. N.pag.

$4,000–6,000

6 ROGER HERMAN Square Amanita 1993 Oil on canvas Initialed, titled, and dated verso Canvas: 80" x 80" P ROV E NANC E Ace Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, May 1994)

$5,000–10,000

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LOT 7

7 GEORGE NELSON Fan wall clock

Howard Miller Clock Company, designed c. 1954 Model no. 2223 Retains manufacturer’s label 15" x 15" x 3.25" LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 289.

$2,000–3,000 LOT 8

8 GEORGE NELSON Fan wall clock

Howard Miller Clock Company, designed c. 1954 Model no. 2223 15" x 15" x 3.25" LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 289.

$2,000–3,000

9 JUNE HARWOOD

Untitled (from Sliver Series) 1960-1961 Acrylic on canvas Signed, dated, with series inscribed verso Canvas: 48" x 30" Frame: 49" x 31"

$12,000–18,000

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10 JUNE HARWOOD

Untitled (from Loop Series) 1966 Acrylic on canvas Signed, titled, and dated verso Canvas: 65.125" x 40"

$8,000–12,000

11 ROBERT SONNEMAN L’ Arc lamp

Sonneman, designed 1974 Model no. 8144 As illustrated (adjustable): 78" x 17" diameter at base LIT E RAT URE Sonneman cat. N.d. 5.

$2,000–3,000

11 12 HARVEY PROBBER

Lounge armchairs (2) Harvey Probber, Inc., designed c. 1960 Each: 35.5" x 32" x 30"

$1,800–2,500

13 JOHN SACCARO Untitled

c. 1957 Oil on canvas Retains Carlson 20th Century Paintings Gallery label verso Canvas: 30" x 36" Frame: 31.625" x 37.25"

$4,000–6,000

14 CALIFORNIA DESIGN Bar stools (4)

Cal Vista, designed c. 1950 Each: 28.5" x 16" x 14"

$1,000–1,500

15 HENDRIK VAN KEPPEL & TAYLOR GREEN Chairs (6)

VKG, designed c. 1950 Each: 31.5” x 20” x 19”

$1,000–1,500

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16 JONAS WOOD Untitled

2009 Color lithograph on paper Artist’s proof aside from the edition of 50 Published and printed by Cirrus Editions, Los Angeles Signed and dated in graphite lower right sheet; edition lower left Image/sheet: 40" x 29.5" Frame: 48.5" x 35" P ROVENA NC E Cirrus Editions, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2014)

$3,000–5,000

17 HENDRIK VAN KEPPEL & TAYLOR GREEN

Tall freestanding bookshelf VKG, designed c. 1946 72" x 96" x 13" P ROV E NANC E Estate of Paul Kasper, California; Private Collection, California

$3,000–5,000

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18 LA GARDO TACKETT Planters (2)

Architectural Pottery, designed c. 1950 Black glazed ceramic Each: 22" x 18" diameter

$1,500–2,000

19 SYLVIA MANGOLD Mondrian Tapes 1982 Oil on linen Signed, titled, and dated in graphite on canvas stretcher verso; retains Brooke Alexander Gallery label on canvas stretcher verso Canvas: 20" x 40" Frame: 21.125" x 41.125"

$10,000–15,000

20 ESTEBAN VICENTE Collage #12

1979 Mixed-media collage Signed and dated frame verso; retains Yares Gallery label verso Canvas: 13.75" x 17.75" Frame: 22.875" x 26.75"

$5,000–7,000

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21 ROBERT MOTHERWELL Black Sounds

1984 Lithograph, relief print, and collage on paper #15 of 60 Published and printed by Tyler Graphics, Ltd., Bedford Village Signed with edition in graphite lower right sheet; printer blind stamp lower right Image/sheet: 39" x 25" Frame: 40.75" x 26.75" LIT E RAT URE Robert Motherwell: The Complete Prints 1940-1991: Catalogue Raisonné. S. Engberg and J. Banach.

2003. #338.

$3,000–5,000

22 BERNARD “TONY” ROSENTHAL Untitled

1953 Welded bronze Signature and date incised on base Overall (including base): 26" x 6.25" x 5.5" ILLUSTRAT E D Arts & Architecture.

November 1953. Cover.

$7,000–9,000

23 MAX FINKELSTEIN Fifth Day

1960 Welded brass Signed and dated at base 33" x 38" x 17"

$4,000–6,000

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24 ARTHUR UMANOFF

Wrought iron dining set (5) Possibly Raymor, designed c. 1950s Comprised of a table and four chairs Table: 29.5" x 42" diameter Chairs each: 30.5" x 24.5" x 19.25"

$2,000–3,000

25 ANDY COLLINS Untitled

2003 Oil and alkyd on canvas Signed and dated verso Canvas: 80.25" x 76" P ROV E NANC E Marc Foxx Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, February 2004)

$5,000–10,000

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26 ANNE HIRONDELLE Outurn 7

Studio, executed 2002 Stoneware ceramic wall sculpture with white finish Signed and dated “Anne Hirondelle 2002 #7” 11.5" x 12.25" x 12.25" P ROV E NANC E June Schwarcz, Sausalito, California; Thence by descent

$1,000–1,500

27 ANDY WARHOL

Old Fashioned Vegetable (from Campbell’s Soup II) 1969 Color screenprint on paper #67 of 250 Published by Factory Additions, New York; printed by Salvatore Silkscreen Co., Inc., New York Signed in black ballpoint pen verso with stamped edition number F/S #II.54 Sheet: 35" x 23" LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.54.

$12,000–18,000

SIGNATURE AND EDITION DETAIL

28 JAMES ROSENQUIST A Free for All

1976 11-color lithograph with printed string on Rives BFK paper #79 of 175 Published by Trans World Art, New York; printed by Derrière L’Étoile Studios, New York Signed and dated in graphite lower right sheet; title with edition inscribed lower left Image/sheet: 26" x 19.625" Frame: 30.25" x 25.25" LIT E RAT URE Time Dust: James Rosenquist Complete Graphics: 19621992. C. Glenn. 1993. #102.

$1,000–1,500

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29 CLAES OLDENBURG

Colossal Screw in LandscapeType I (from the Soft Screw Series) 1976 1-color lithograph on Arches Roll paper #9 of 11 artist’s proofs aside from the edition of 35 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite lower right sheet; Gemini G.E.L. blind stamp lower right edge of sheet; edition inscribed in Roman numerals lower left sheet Gemini G.E.L. #38.38 Image: 50" x 25" Sheet (vis.): 67" x 39.75" Frame: 70" x 43" LIT E RAT URE Printed Stuff, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné. R. Axsom and D. Platzker. 1997. #142.

$1,500–2,500

30 ROY LICHTENSTEIN Brushstrokes

1967 4-color screenprint on off-white wove paper #95 of 300 Published by Leo Castelli Gallery, New York, for the Pasadena Art Museum, Pasadena Signed with edition in graphite lower right margin of sheet Image: 22" x 30" Sheet: 23" x 31" Frame: 23.25" x 31.375" LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #45.

$10,000–15,000

31 ROY LICHTENSTEIN Modern Head Pin 1968 Metal and enamel Unknown edition size Published by Multiples Inc., New York Incised signature verso with stamp “© 1968 Roy Lichtenstein/For Multiples Inc.” 3" x 2.375" P ROVENA NC E LACMA Store, Los Angeles, California; Private Collection, California (acquired directly from the above, 1968)

$3,000–5,000

32 ROY LICHTENSTEIN

Modern Head #5 (from Modern Head Series) 1970 Embossed graphite with Strathmore die-cut paper overlay mounted in white lacquered aluminum frame with wood stretcher support #62 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet with Gemini G.E.L. blindstamp; edition lower left Gemini G.E.L. #31.27 Image: 20" x 11.5" Sheet: 28" x 19.5" Frame: 28.5" x 20" P ROV E NANC E Murray “Mickey” A. Gribin, Los Angeles, California; Private Collection, Los Angeles, California LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #95.

$12,000–18,000

33 ROY LICHTENSTEIN

Modern Head #3 (from Modern Head Series) 1970 1-color embossed linecut on handmade Waterleaf paper #62 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet with Gemini G.E.L. blindstamp; edition lower left Gemini G.E.L. #31.25 Image: 20" x 13.75" Sheet: 24" x 18" Frame: 25.75" x 19.75" P ROV E NANC E Murray “Mickey” A. Gribin, Los Angeles, California; Private Collection, Los Angeles, California LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #93.

$8,000–12,000

25

34 TOM WESSELMANN

Stockinged Nude, Edition #2 1980 Thinned liquitex and graphite on 100% rag paper Unique Signed, dated, and inscribed “#2” in graphite lower left sheet LAMA would like to thank the Tom Wesselmann Estate for their assistance in cataloguing this work Sheet: 8" x 18.5" Frame: 15.5" x 25.75"

$35,000–45,000

35 FRANK STELLA

Los Alamitos (from Race Track Series) 1972 11-color screenprint on Gemini Rag Board #53 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in graphite lower right margin in sheet beneath image; retains Gemini G.E.L. blind stamps lower right corner of sheet Gemini G.E.L. #51.87 Image: 15" x 75.25" Sheet: 20.25" x 80.125" Frame: 20.5" x 80" LIT E RAT URE The Prints of Frank Stella: A Catalogue Raisonné: 19671982. R. Axsom. 1983. #74.

$4,000–6,000

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36 JASPER JOHNS Untitled (Yellow)

1981 Lithograph on paper #14 of 25 Signed and dated in graphite lower right margin of sheet; edition lower left Image: 3.25" x 2.25" Sheet: 8" x 5.5" Frame: 16.75" x 14.25"

$4,000–6,000

37 LARRY RIVERS

Dutch Masters White Plains Box 1981 Oil on shaped canvas support Signed lower right “Larry Rivers” LAMA would like to thank the Larry Rivers Studio for their assistance in cataloguing this work 76.75" x 60" x 19" P ROVENA NC E Private Collection, Beverly Hills, California (acquired directly from the artist, 1982); Private Collection, Los Angeles, California (acquired directly from the above)

$50,000–70,000

Larry Rivers It is widely believed that the painter, sculptor, and printmaker Larry Rivers (1923–2002) changed the course of American art in the 1950s and ‘60s, when pure abstraction was the dominant force in art. At a time during which figuration was considered dead, Rivers insisted that figurative art and portraiture remained relevant—even radical. The singular style he developed combined the force and gesture of Abstract Expressionism with perfectly rendered, representational imagery. His preferred subject matter—everyday objects like playing cards, cigarette packs, and foreign currency—together with his signature cool, ironic detachment have caused some to regard Rivers as the forerunner of Pop Art. The engines which drove Rivers’s career were restless curiosity and an eagerness to experiment. He was a leading figure in the New York School, a loose-knit group of painters, writers, dancers, and musicians who formed the core of the East Coast avant-garde in the 1950s and ‘60s. In addition to making art, Rivers played jazz saxophone, designed stage sets and costumes, made documentary films, and acted.

He and the poet Frank O’Hara—his longtime friend and sometime lover—would collaborate on art that combined text

and imagery. For his Make Believe Ballroom series, Rivers employed a novel printing technique to create pieces with raised, textured surfaces, which occupy a middle ground between painting and sculpture.

Drawing on sources ranging from Courbet and Manet to Matisse, a major theme in Rivers’s work is the relocating of iconic, established imagery in contemporary art. One of his early successes was his 1953 work Washington Crossing the Delaware, a detached dissection of the famed Emanuel Gottlieb Leutze painting. In 1963, Rivers painted the first of his Dutch Masters works, a theme he explored several times over. Wryly, these works reference not any Dutch master proper, but a brand of cigars whose packaging co-opts Rembrandt’s The Sampling Officials of the Amsterdam Drapers' Guild to commercial ends. In so doing, these paintings are classic Rivers, who surely relished the absurd reincarnation of a Rembrandt masterpiece as promotional fodder in twentieth century consumer culture.

Rose, Barbara, and Jacquelyn Days Serwer. Larry Rivers: Art and the Artist.

Boston: Little, Brown and in Association with the Corcoran Gallery of Art, 2002. Print.

38 LARRY RIVERS

Make Believe Ballroom 1989 Acrylic, oil, photolithograph on canvas, cast resin fiber, and wood #94 of 105 Published and fabricated by Mixografia, Los Angeles Signed with edition center right edge LAMA would like to thank the Larry Rivers Studio for their assistance in cataloguing this work 36.75" x 35" x 3.5" P ROV E NANC E Private Collection, California (acquired directly from the artist)

$5,000–7,000

29

39 HANS J. WEGNER

Papa chair and ottoman (2) A. P. Stolen, designed 1951-1953 Model no. AP 19 Chair: 39" x 36" x 36" Ottoman: 17" x 27.5" x 16" LITERATURE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 68.

$6,000–9,000

40 HANS J. WEGNER Sofa

Getama, designed 1953 Model no. 236 30.75" x 91" x 29" LITERATURE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 19.

$3,000–5,000

41 HANS J. WEGNER Rocking chair

A. Mikael Laursen, designed c. 1940s Model no. ML-33 31" x 27" x 24.25" LIT E RAT URE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 18.

$900–1,200

42 HANS J. WEGNER The chair

Johannes Hansen, designed 1949 Model no. JH 501 Branded “Johannes Hansen Copenhagen Denmark” 29.75" x 25" x 21" LIT E RAT URE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 36.

$600–900

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43 WILHELM KÅGE

Ceramic footed bowl Gustavsberg Studio, executed 1956 Impressed “Gustavsberg/Kåge” with studio’s cipher and “A” Together with catalogue 3" x 11.875" diameter LITERATURE The Nordic Modern Movement. Gansevoort Gallery exh. cat. 1998. 47.

$2,000–3,000

44 ALVAR AALTO

Table and chairs (5) Artek, designed c. 1936 Comprised of a table and four chairs Chairs each: 31" x 15" x 15" Table: 28" x 48" x 29.5"

$1,500–2,000

45 HENNING KOPPEL

Silver flatware service (63) Georg Jensen, designed 1957 Caraval Pattern Each marked “Georg Jensen” and “Sterling/Denmark” Comprised of a five piece service for twelve (dessert spoons, dessert forks, soup spoons, dinner forks, knives), two butter spreaders, and a large serving spoon Various dimensions LIT E RAT URE Design 1935-1965: What Modern Was. M. Abrams. 1991. 160.

$5,000–7,000

46 FINN JUHL

Dining table Baker, designed c. 1955 Model no. 560-I Retains tag “Baker Furniture, Inc.” Comprised of a table and two leaves (not illustrated) PARTIAL ILLUSTRATION

29" x 47" x 68" (as illustrated)

$1,500–2,000

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47 ARNE JACOBSEN

AJ Pendant Hanging Light Louis Poulsen, designed 1957 First designed for the SAS Royal Hotel in Copenhagen 8" x 19.75" diameter LITERATURE 1000 Lights (1878-1959).

Vol. 1. C. Fiell. 2005. 535.

$400–600

48 ARNE JACOBSEN Swan chairs (2)

Fritz Hansen, designed 1958 Model no. 3320 Each: 32" x 28.25" x 24" LITERATURE 1000 Chairs . P. Fiell.

1997. 347.

$2,000–3,000

49 RICHARD ANUSZKIEWICZ Reflections V - Grey Line

1979 Screenprint with hand-painted acrylic on gessoed Masonite #11 of 60 Published by Prestige Art, Ltd., New York; printed by Norman Lassiter, Editions Lassiter-Meisel, New York Signed and dated with edition lower right; signed and dated with Editions Lassiter-Meisel stamp verso Together with print documentation Masonite: 73.5" x 47" Frame: 76" x 49.25" LIT E RAT URE Richard Anuszkiewicz: Prints. A. Stewart and E. Varian.

1980. N.pag.

$2,500–3,500

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50 NORMAN ZAMMITT Untitled

1968 Cast laminated acrylic LAMA would like to thank the Estate of Norman Zammitt for their assistance in cataloguing this work 108.25" x 1.25" x 1.25" P ROVENA NC E George and Shirley Nasone, Los Angeles, California (acquired directly from the artist); Private Collection, California (gifted directly from the above, 1999); Private Collection, Los Angeles, California (acquired from Los Angeles Modern Auctions, Van Nuys, California, October 13, 2013, lot 274)

$4,000–6,000

51 WARD BENNETT Lounge chair

Brickel Associates, designed 1967 31" x 25.5" x 27" P ROV E NANC E Estate of Max Palevsky, Los Angeles, California; Private Collection, Los Angeles, California LIT E RAT URE Sourcebook of Modern Furniture. J. Habegger. 1997. 317.

$1,000–1,500

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52 CEDRIC HARTMAN Floor lamps (2)

Cedric Hartman, designed 1966; these examples produced 1988 Each stamped “Cedric Hartman/880533/Made in U.S.A” with facsimile of signature Each: 39" high (adjustable)

$2,500–3,500

53 DONALD SULTAN

Untitled (Cards) (Hearts and Diamonds) 1989 Conté crayon and charcoal on paper in five sheets Each inscribed, dated, and initialed by the artist in graphite along the left edge of each sheet; retains Paul Kasmin Gallery label verso Sheet each: 11.5" x 8" Frame: 23.125" x 57.25"

$10,000–15,000

54 BRUCE CONNER

Twelve Moons (from 100 Series) 1970 Offset lithograph on paper #3 of 99 Published by the artist; printed by Kaiser Graphics, Oakland Signed and dated lower right; edition lower left Image: 20" x 14" Mat: 30" x 24"

$800–1,200

CLOSE-UP DETAIL

55 GENE DAVIS Untitled

c. 1970 Acrylic on canvas Retains Levis Fine Art label canvas stretcher verso Canvas: 116.25" x 6.25" Frame: 117.25" x 7.125"

$15,000–20,000

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56 CY TWOMBLY Untitled

1970 Offset color lithograph on heavy 200 gsm paper #67 of 250 Published by Verein Progressiver Galerien, Köln; printed by Henry Deckner, Köln Initialed in black ink with edition on a label verso Image/sheet: 12.5" x 16.625" This print was executed for a special edition of the Köln art fair catalogue 1970 organized by Hans Neuendorf.

P ROVENA NC E LACMA Store, Los Angeles, California; Private Collection, California (acquired directly from the above, 1970) LITERATURE Cy Twombly: A Catalogue Raisonné of the Printed Graphic Work. H. Bastian. 1984. 28.

$6,000–9,000

57 BRUCE NAUMAN Untitled

1969 2-color offset lithograph on 100 lb. Kromekote paper Edition size unknown Published by Leo Castelli Gallery, New York Signed in graphite lower right Image: 23" x 19" Sheet: 24.25" x 20" Frame: 28.125" x 24.25" Published in conjunction with the exhibition “Bruce Nauman: Holograms, Videotapes, and Other Works” at Leo Castelli Gallery, New York, May 24-June 14, 1969.

LIT E RAT URE Bruce Nauman Prints 1970-89: A Catalogue Raisonné. C. Cordes. 1989. 130.; Made in LA: Prints of Cirrus Editions. B. Davis. 1995. 318.

$1,500–2,000

41

58 GERHARD RICHTER Heiner Friedrich

1970 Offset 4-color print on white lightweight chromo cardboard #67 of 250 Published by Galerie Heiner Friedrich, Munich Signed with edition and stamped verso Image: 15.75" x 12" Sheet: 16.75" x 12.375" Based on a photograph of Heiner Friedrich by Brigid Polk.

P ROV E NANC E LACMA Store, Los Angeles, California; Private Collection, California (acquired directly from the above, 1970) LIT E RAT URE Gerhard Richter.

Editions 1965-2013. H. Butin, et al.

2014. #30.

$2,000–3,000

Ronald Davis Ronald Davis’s geometric abstractions were regarded as revolutionary when first exhibited in the mid-1960s. Both painterly and precise, they have drawn comparisons to the perspective studies of the artists of the Renaissance. But Davis’s eager embrace of new materials and technologies is characteristic of his own period and context: the groundbreaking art scene in California which incubated the careers of Peter Alexander, De Wain Valentine, and other members of the Los Angeles-born Light & Space Movement, who created plastics for sculptures concerned with capturing atmospheric effects. Davis himself employed polyester resin paint and fiberglass to produce impressive spatial illusions. “My work is comprised of aggressively decorative, meaningless, unidentified floating objects that pretend to be rational,” Davis once wrote. “Illusion is my vehicle. Opticality is paramount.”

59 RONALD DAVIS

Panel-Clamp (PTG 0312) 1971 Flexible polyester resin and fiberglass Cutout series Signed and dated with title on label verso LAMA would like to thank the Ronald Davis Studio for their assistance in cataloguing this work 60" x 136"

$20,000–30,000

LABEL VERSO DETAIL

Born in Santa Monica in 1937 and raised in Wyoming, Davis studied engineering for two years before he recognized his calling and enrolled at the San Francisco Art Institute in 1960. While able to describe his creative process in exacting detail, Davis does so candidly and with wit. “The paintings are often the opposite of what they seem,” he wrote in an artist’s statement for a 2002 retrospective of his work. “People think they’re ‘happy,’ because I use bright colors. Conversely, some think the paintings are aloof and cerebral; rather, they are defensive, protecting my fragility. I don’t know what they mean; I just know how to make them. A painting’s just gotta look better than the wallpaper.”

“Ronald Davis, ‘Vector’ 1968.” Tate. Tate Collection, n.d. Web. 28 Mar. 2016.

Davis, Ronald. ”A Painting’s Just Gotta Look Better Than the Wallpaper” Ronald Davis: Forty Years of Abstraction, 1962-2002. Butler Institute of American Art, 2002. 18-26. Web.

60 LLOYD HAMROL

Green Piece (One Up One Down) c. 1969 Formica and wood 30" x 12" x 6" (dimensions adjustable) Sculptural works by Lloyd Hamrol can be found in the permanent collections of the Hirshhorn Museum and Sculpture Garden, the Los Angeles County Museum of Art, and the Norton Simon Museum.

P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, 1969); Private Collection, Canada (acquired directly from Los Angeles Modern Auctions, Van Nuys, California, March 1, 2015, lot 23)

$2,000–3,000

61 RONALD DAVIS

Block, Slab, and Checkered Lens (PTG 0935) 1988 Cel-vinyl acrylic copolymer and Nova gel on canvas Ray Trace series Inscribed “PTG 935” verso LAMA would like to thank the Ronald Davis Studio for their assistance in cataloguing this work Canvas: 40.1876" x 36.125" Frame: 42.5" x 38.5"

$4,000–6,000

43

62 VICTOR VASARELY Untitled

1978 Paper collage on panel Signed lower right; inscribed “collage a modifier” verso LAMA would like to thank Michele Vasarely for her assistance in cataloguing this work Panel: 18.5" x 10" Frame: 24" x 15.5"

$6,000–9,000

63 JEAN-PIERRE VASARELY (YVARAL)

Horizon Structuré BL (No. 1708) 1976 Acrylic on canvas Signed “Yvaral” lower center; signed, dated, and inscribed “Horizon Structuré BL” and “No. 1708” verso Canvas: 15.875" x 15.875" Frame: 16" x 16"

$5,000–7,000

45

64 MATSUMI KANEMITSU Winter Stream 1978 Oil on canvas Signed and dated upper left Canvas: 40" x 50" Frame: 42.5" x 52.5"

$2,500–3,500

65 ALFRED CASELLA Floor lamps (2)

Casella Lighting, designed c. 1980 Retains label “Casella Lighting/San Francisco” Each: 45" (adjustable) x 12" x 6" (at base)

$1,000–1,500

66 MILO BAUGHMAN Sideboard

Thayer Coggin, designed c. 1970s 36.25" x 65" x 16.75"

$2,000–3,000

47

67 PAUL JENKINS

Phenomena Carib Mask 1977 Watercolor on paper Signed lower center sheet; signed, titled, and dated verso Sheet: 30.875" x 43.25" Frame: 41.375" x 53.75"

$5,000–7,000

68 MARIO BELLINI

Cab armchairs (4) Cassina, designed 1977 Each marked “Cassina” Each: 32" x 23" x 19" LITERATURE Sourcebook of Modern Furniture. J. Habegger. 1997. 203.

$2,000–3,000

49

69 VASA (VELIZAR MIHICH) Tower #212

1988 Laminated cast acrylic Unique Etched signature and date “#212 Vasa 1988” 76" x 5" x 5" (without base) 80" x 14" x 14" (with base)

$3,000–5,000

70 ROBERT BULMORE Floor lamp

The Bulmore Company, designed c. 1960 63" x 11" diameter (at base)

$1,500–2,000

71 RAY WILKES

3-seat sofa and armchair (2) Herman Miller, designed c. 1977 Model nos. MG101 (chair) and MG103 (sofa) Each retains manufacturer's label Armchair: 27.5" x 35.5" x 30" Sofa: 27.5" x 85" x 26" LITERATURE Herman Miller Furniture cat. 1977. 85.

$3,000–5,000

72 JOHN OKULICK Inclined

1980 Acrylic on wood Retains signed, titled, and dated artist’s label verso; signed, titled, and dated verso 14" x 12.5" x 3"

$2,000–3,000

73 ERIC ORR

Oceans of Time Red 1989 Color lithograph on paper #25 of 50 Signed and dated in graphite lower right; edition lower left; retains Ikon Ltd. label verso Image/sheet: 29.75" x 22" Frame: 35.5" x 27.625"

$800–1,200

51

74 BILLY AL BENGSTON Bushfire

1957 Oil on canvas Signed “Moontang” lower right; signed, titled, and dated verso Canvas: 26" x 20" Frame: 26.75" x 20.125" P ROVENA NC E Private Collection, United States (acquired directly from the artist); Thence by descent

$5,000–7,000

75 BILLY AL BENGSTON Resting

1957 Oil on canvas Signed, titled, and dated verso Together with remnant of Outdoor Art Festival exhibition label bearing the inscription “Ferus Gallery” Canvas: 19.5" x 18" Frame: 21.25" x 19.75" P ROV E NANC E Private Collection, United States (acquired directly from the artist); Thence by descent

$3,000–5,000

53

76 BILLY AL BENGSTON 5 Shapes 5 Dots 1957 Oil on canvas Signed “Moontang” lower right; signed, titled, and dated verso Canvas: 14" x 13" Frame: 14.75" x 13.5" P ROV E NANC E Private Collection, United States (acquired directly from the artist); Thence by descent

$3,000–5,000

77 ED RUSCHA Untitled

1983 3-color lithograph on heavyweight Stonehenge paper #16 of 45 Published by the artist; printed by Wasserman Silkscreen Co., Santa Monica Signed and dated in graphite lower right margin of sheet beneath image with printer blind stamp; edition lower left Together with print documentation from Jeff Wasserman Image: 14" x 54" Sheet: 21.5" x 60" Frame: 24" x 62" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from Jeff Wasserman, 1983) LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue RaisonnĂŠ. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #136.

$8,000–12,000

78 ED RUSCHA Billy

1968 Exhibition catalogue with felt letters mounted to sandpaper cover, machine screw and nut binding, and satin ribbon page marker From the first edition of 2,500 Published by the Los Angeles County Museum of Art; printed by Toyo Press, Los Angeles

79

Business card stamped “Billy’s Showroom/110 Mildred Avenue/ Venice, CA 90291” verso

I’m Amazed (from Fourteen Big Prints)

Billy designed by Ed Ruscha with text by James Monte Together with framed Billy business card Book: 9" x 11" Published on the occasion of the 1968 exhibition, “Billy Al Bengston,” at the Los Angeles County Museum of Art.

ED RUSCHA

1971 3-color screenprint on Hollingsworth 95% rag paper #62 of 100 Published by Bernard Jacobson, Ltd., London; printed by Advance Graphics, London Signed and dated in graphite lower right sheet; edition lower left Image/sheet: 40" x 60"

LIT E RAT URE Edward Ruscha:

LIT E RAT URE Edward Ruscha:

Editions, 1959-1999: Catalogue

Editions, 1959-1999: Catalogue

Raisonné. 1st ed. Vol. II. S. Engberg

Raisonné. 1st ed. Vol. II. S. Engberg

and C. Philpot. 1999. #M10, M11.

and C. Philpot. 1999. #56.

$1,000–1,500

$3,000–5,000

55

80 ED RUSCHA Green Suds

1971 4-color screenprint on paper #53 of 100 Published by Edizioni O, Milan; printed by Jean Milant and Jane Aman, Cirrus Editions, Los Angeles Signed and dated with edition in graphite lower left sheet Image/sheet: 17.875" x 24" Frame: 23.5" x 29.5" P ROVENA NC E Cirrus Editions, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, February 23, 2014, lot 221) LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #58.

$3,000–5,000

81 ED RUSCHA

Group of books (6) 1963-1970 Comprised of Twentysix Gasoline Stations (1963, 2nd ed.); Some Los Angeles Apartments (1965, 2nd ed.), Nine Swimming Pools and a Broken Glass (1968, 2nd ed.); Billy (1968, 1st ed.); Crackers (1969); and Real Estate Opportunities (1970) Various dimensions LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed.

Vol. II. S. Engberg and C. Philpot. 1999. #B1; B3; B8; B10; B12; M10.

$3,000–5,000

82 JEFF BROUWS

Twentysix Abandoned Gasoline Stations 1992 Softcover, printed wrappers with glassine #701 of 1,000 Co-published by Gas-No-Go Publications and Hand-Job Press, Santa Barbara Signed with edition in ink 7" x 5"

$800–1,200

83 KIKI SMITH RE

1994 Photoengravure and letterpress on 1958 Whatman paper with adhered gampi silk tissue and Roma envelope #78 of 100 Signed and dated with edition in graphite on book and verso of envelope Created by the artist at the University of California, Santa Barbara, and produced at Turkey Press in conjunction with a solo exhibition of her work at the University Art Museum, UCSB, March–April 1994 Book (closed): 6" x 5" Envelope: 9" x 7.125" The text is adapted from John A. Wilson’s translation of an Egyptian cosmology known as The Papyrus Bremner-Rhind.

$1,000–1,500

57

84 KEN PRICE L.A. Riot

1994 Ink and acrylic on paper Signed and dated in graphite lower right margin of sheet LAMA would like to thank the Ken Price Studio for their assistance in cataloguing this work Composition: 10.5" x 8.25" Sheet: 15" x 12" Frame: 24" x 20.5" This drawing was reproduced as a plate in the Ken Price portfolio of screenprints Heat Wave (1995) with text by Charles Bukowski P ROVENA NC E Modernism Inc., San Francisco, California (acquired directly from the artist) EXHIBITE D “Ken Price: Heat Wave - Works on Paper,” Modernism Inc., San Francisco, November 2-December 23, 1995

$20,000–30,000

85 KEN PRICE

Mexican Arts/Happy’s Curios 1978 Painted and glazed ceramic Inscribed “Mexican Arts/Happy’s Curios” along the edges of the plate LAMA would like to thank the Ken Price Studio for their assistance in cataloguing this work 11" diameter P ROVENA NC E Rena Bransten Gallery, San Francisco, California; Modernism Inc., San Francisco, California

$8,000–12,000

86 KEN PRICE Heat Wave

1995 The complete portfolio comprising 15 color screenprints on Arches paper #128 of 170 Published by Black Sparrow Graphic Arts, Santa Rosa; printed

by T.J. Owens, Healdsburg Four prints signed and dated in graphite with edition and artist’s/ publisher’s blind stamps; facsimile of artist’s signature on justification page with edition inscribed in red ink Text by Charles Bukowski Together with original packaging Sheets each: 14" x 11" (some with alternate orientation) Portfolio case: 1" x 12.625" x 15"

$4,000–6,000

59

87 KEN PRICE Specimen

1962 Painted ceramic encased in glass vial with cork stopper LAMA would like to thank the Ken Price Studio for their assistance in cataloguing this work Ceramic: .625" x .125" diameter Vial: 2.125" x .5" diameter Ken Price was known to quote artist Joseph Cornell, who stated, “tiny is the last refuge of the enormous.”

P ROVENA NC E Private Collection, California (acquired directly from the artist, 1962)

$3,000–5,000

Ed Moses Ed Moses (b. 1926) has been a major figure in the Los Angeles art world for nearly sixty years. Along with Ed Ruscha, Billy Al Bengston, Ed Kienholz, Craig Kauffman, and others, Moses was a member of the group of artists known as the Cool School, whose exhibitions at the legendary Ferus Gallery in the late 1950s and early ‘60s virtually created the Los Angeles art scene.

Experimentation is the keynote of Moses’s artistic career. Early on, he was drawn to abstract expressionism, but in the decades since he has explored semi-figurative paintings, patterns, color field techniques, geometric abstraction, and other devices.

Moses describes his art as that of discovery, and his enduring concerns have been for the materials, surfaces, and process of art-making.

The untitled graphite and gouache on paper construction in this auction is part of a series inspired by Swedish pop-up greeting cards. The work stems from early in the artist’s career, a period Moses spent working in abstracted floral forms. “I never know when that moment will happen when I realize that I have something special,” Moses has said. “But when it does, it can come at me with such surprise—that is a beautiful thing.”

88 ED MOSES Untitled

1963 Graphite, gouache, and felt-tip marker on paper cutout relief on illustration board in artist’s frame Signed “EMS” in graphite lower right composition; dated “63” lower right board; inscribed in graphite frame verso “Personally packaged + guaranteed/To keep dust in-in + dust out-out/by EMS/1966/P.S. however picture made in/1963 not to be confused./all this considered writing for/’Pat.’” LAMA would like to thank the artist for his assistance in cataloguing this work Composition: 6.25" x 6.875" Board (vis.): 7.75" x 11.25" Frame: 13.75" x 17.25" P ROV E NANC E Private Collection, California (acquired directly from the

Yau, John. Ed Moses: A Retrospective of the Paintings and Drawings, 1951-1996. Los Angeles: Museum of Contemporary Art, 1996. Print.

artist, 1966)

$7,000–10,000

61

89 ED MOSES Boca

1991 Oil, acrylic, and shellac on canvas Signed, titled, and dated on overlap verso; retains LA Louver Gallery label on canvas stretcher verso Together with copy of invoice from LA Louver Gallery LAMA would like to thank the artist for his assistance in cataloguing this work Canvas: 60" x 48 Frame: 61.5" x 49.5"

$10,000–15,000

90 ED MOSES

Ring-D-Whip 2005 Acrylic on canvas Signed “Moses Y Branco”, titled and dated verso LAMA would like to thank the artist for his assistance in cataloguing this work Canvas: 60" x 48"

$10,000–15,000

63

91 FREDERICK WIGHT Santa Ana Blowing 1983 Oil on canvas Signed, titled, and dated verso; retains Newspace Gallery label on canvas stretcher verso Canvas: 48" x 48" Frame: 48.625" x 48.625"

$2,000–3,000

92 PETER ALEXANDER Universal

1990 Lithograph on paper Artist’s proof aside from the edition of 90 Initialed in graphite lower right margin beneath image; inscribed and dated “A/P UNIVERSAL NOV 6/90” lower left margin beneath image; retains Ikon Ltd. label verso Image: 20.25" x 19.75" Sheet (vis.): 24.5" x 24.5" Frame: 35.75" x 33.5"

$800–1,200

93 PETER ALEXANDER Mar Vista V

1989 Color monoprint on paper Initialed, dated, and titled in graphite lower right in image Image: 23" x 27" Sheet: 30" x 33" Frame: 33.25" x 36"

$1,000–1,500

94 PETER ALEXANDER Avalon III

1989 Color monoprint on paper Initialed, dated, and titled by the artist in graphite lower right sheet; retains Works Gallery South label verso Image/sheet: 34" x 37" Frame: 38" x 41"

$2,000–3,000

65

95 JOHN NYQUIST Executive desk

Studio, commissioned 1965 Black walnut Together with copy of invoice dated July 7, 1965 29.5" x 72" x 34.75" P ROVENA NC E Dr. Frank Law, Huntington Beach, California; Private Collection, Los Angeles, California

$3,000–5,000

96 JOHN NYQUIST Highback chair

Studio, commissioned 1977 Teak, Brazilian rosewood, and leather Branded with artist’s cipher 43" x 27" x 26" P ROVENA NC E Dr. Frank Law, Huntington Beach, California; Private Collection, Los Angeles, California

$1,000–1,500

97 KRYSTYNA WOJTYNA-DROUET Fruit

c. 1960 Woven wool tapestry Unknown edition size Manufacturer unknown Retains signed artist's label verso Together with copy of invoice from J.L. Hurschler 91" x 123" P ROV E NANC E J.L. Hurschler, Pasadena, California; Private Collection, Atlanta, Georgia (acquired directly from the above, 1981); Thence by descent

$4,000–6,000

67

98 VALSTA NOVAKOVA King & Queen (2)

c. 1960 Woven wool wall hanging Together with copy of invoice from J.L. Hurschler Each: 67" x 24" P ROV E NANC E J.L. Hurschler, Pasadena, California; Private Collection, Atlanta, Georgia (acquired directly from the above, 1981); Thence by descent

$1,000–1,500

SIGNATURE AND DATE DETAIL

99 JUN KANEKO

Untitled (Dango) 1999 Painted and glazed stoneware Signed and dated to the underside LAMA would like to thank the Jun Kaneko Studio for their assistance in cataloguing this work 45" x 24" x 18" P ROVENA NC E William Traver Gallery, Seattle, Washington; Private Collection, United States (acquired directly from the above, 2000)

$15,000–20,000

Jun Kaneko The work of ceramic artist Jun Kaneko (b. 1942) embodies two distinct sensibilities: there is the spirituality inherent in the ancient pottery traditions of his native Japan, and then there are the modernist impulses born of his studies under the masters of the California Clay Movement in the 1960s.

Kaneko’s forms are simple, but his scales are monolithic.

Treating surface as a three-dimensional canvas for geometric abstraction, a tension emerges in Kaneko’s work between fixed, physical presence and dynamic, writhing surface.

“Kaneko’s ceramic works are an amazing synthesis of painting and sculpture,” Peter Voulkos once said. “His works are enigmatic and elusive, simultaneously restrained and powerful, Eastern and Western, static and alive, intellectual and playful, technical and innovative.”

In Japan, Kaneko studied drawing and painting from adolescence into young adulthood before moving to Los Angeles in 1963 to continue his education at the Chouinard Art Institute. Soon after arriving, he befriended the legendary ceramics collectors Fred and Mary Marer.

Eventually he changed artistic mediums, going on to study with such luminaries in the world of ceramics as Peter Voulkos and Paul Soldner. From the start of his career, Kaneko has preferred oversized formats, which he believes foster a deeper engagement with the viewer.

His signature form, a series he calls Dango—Japanese for “dumpling”—can be as large as ten feet tall. Their making requires both patience and virtuosic technical prowess.

Kaneko has estimated that only two in ten works survive the laborious building, drying, and firing process without cracking or exploding.

Yet when successful, Kaneko realizes some of the most profound work in contemporary art. According to Voulkos, his “accomplishments are unrivaled in the field of ceramic art. His technical achievements alone have redefined the possibilities the medium has to offer.”

McInnes, Mary Drach. “Oral History Interview with Jun Kaneko.” Archives of American Art. Smithsonian Institute, 2005. Web. “Jun Kaneko.” Collections.

University of Iowa Museum of Art, n.d. Web. 24 Mar. 2016.

69

100 JUN KANEKO

Untitled (Dango) 1999 Painted and glazed stoneware LAMA would like to thank the Jun Kaneko Studio for their assistance in cataloguing this work 34.5" x 35" x 11" P ROV E NANC E William Traver Gallery, Seattle, Washington; Private Collection, United States (acquired directly from the above, 2000)

$8,000–12,000

101 MAURIZIO TEMPESTINI Patio dining set (7)

Salterini, designed c. 1950-1954 Comprised of a dining table and six chairs Chairs each: 33" x 20" x 19" Table: 29" x 60" x 36"

$2,500–3,500

102 VIOLA FREY

New Guinea Rain Forest Studio, executed 1974 Painted and glazed ceramic 21.5" (42" including base) x 13" diameter

$7,000–10,000

71

103 MILO BAUGHMAN Side tables (2)

Glenn of California, designed c. 1950 Each branded “Glenn of California” and marked “Revell #228” Each: 21" x 32" x 23"

$1,000–1,500

104 PAMELA WEIR-QUITON Maquette doll

Studio, designed c. 1970 15" x 3.25" x 1.625" LITERATURE California Design Ten. Pasadena Art Museum exh. cat. 1968. 36, 45 for similar examples.

$1,000–1,500

105 GRETA MAGNUSSON GROSSMAN Cobra table lamp

Ralph O. Smith, designed 1949 Adjustable: 15" x 12" x 13"

$2,000–3,000

106 PAUL SOLDNER Pedestal Piece

From the Kimono Series 84-41 Studio, executed 1984 Raku clay 20.5” x 16” x 7” LIT E RAT URE Paul Soldner: A Retrospective exh. cat. 1991. 94 for similar examples.

$3,000–5,000

107 HARRISON MCINTOSH Bowl

Studio, executed c. 1956 Glazed stoneware Impressed with artist’s cipher and retains Harrison McIntosh studio label 2.25" x 9.5" diameter

$2,000–3,000

73

LAMA would like to thank Gail Reynolds Natzler for her gracious assistance in cataloguing these works

108 GERTRUD & OTTO NATZLER

Gray Earth Crater glazed bowl Studio, executed 1951 Signed “natzler” Natzler archives identification #C410 2.75" x 7.25" diameter (7 cm x 18 cm diameter)

$4,000–6,000

109 GERTRUD & OTTO NATZLER Verdigris Lava glazed bowl Studio, executed 1950 Signed “natzler” Natzler archives identification #B885 2.75" x 7.5" diameter (7 cm x 18.5 cm diameter)

$4,000–6,000

110 GERTRUD & OTTO NATZLER Iron Crater glazed bowl Studio, executed 1952 Signed “natzler” Natzler archives identification #D767 1.25" x 6" diameter (2.5 cm x 15 cm diameter)

$2,500–3,500

111 GERTRUD & OTTO NATZLER

Patina Mat glazed conical bowl Studio, executed 1956 Signed “natzler” Natzler archives identification #H294 2.25" x 7" diameter (5.5 cm x 17.5 cm diameter)

$2,500–3,500

112 GERTRUD & OTTO NATZLER

Blue Haze glazed conical bowl Studio, executed 1947 Signed “natzler” Natzler archives identification #8850 1.75" x 5.875" diameter (4.25 cm x 14 cm diameter)

$3,000–5,000

113 GERTRUD & OTTO NATZLER

Olive Celadon reduction fire glazed bowl Studio, executed 1949 Signed “natzler” Natzler archives identification #A310 2.25" x 5" diameter (5.5 cm x 12.25 cm diameter)

$3,000–5,000

75

114 SAM MALOOF

Highback dining side chair Studio, executed 1965 Branded “Design Made/Maloof/ California” 38" x 24" x 19"

$3,000–5,000

115 SAM MALOOF

Side table with drawer Studio, custom executed 1955 18.5" x 36.5" x 16"

$4,000–6,000

116 JAMES STROMBOTNE Untitled

1960 Oil on canvas Signed and dated lower right Canvas: 26" x 31.75" Frame: 27.25" x 33"

$2,500–3,500

77

Doyle Lane: A New Discovery Doyle Lane (1925–2002) was a dedicated artist and craftsman whose iconic “weed pots,” with their intimate scale and bold glazes, garnered strong attention among the crowded field of postwar ceramics in America.

Fickett also regularly used Lane’s tiles as adornments and as murals in the interiors and exteriors of many projects.

In fact, at the time of his death in 1999, Fickett still owned over 3,000 unused tiles by Lane.

Although Doyle Lane’s work has become even more desirable recently, success during his life was somewhat elusive. An African-American artist, he was left out of major shows in his medium, although he was included in the Pasadena Museum of Art’s annual design shows of 1956, 1957, and 1960 as well as the landmark show “Objects: USA” organized by Mills College in 1970. He was able to make a living, but only due to the support of architects who supplied him with regular commissions.

In 2015, this extraordinary cache of “new old” stock was uncovered and subsequently assembled into murals based on historical examples. The example offered here is a collection of 148 vintage tiles from the Fickett collection, which have been professionally mounted within a simple wood frame.

Edward Fickett, the prolific architect who by some accounts produced over 60,000 units of residential and commercial space across Southern California, was perhaps Lane’s most supportive patron. In addition to personally purchasing weed pots, clay paintings, and sculptures,

Other works by Doyle Lane can be found in the permanent collections of the Smithsonian American Art Museum, the Huntington Library, and the Los Angeles County Museum of Art. A Handbook of California Design, 1930–1965: Craftspeople, Designers, Manufacturers. B. Tigerman, ed. 2013. Doyle Lane Clay Paintings. The Landing exh. cat. 2014. Living in a Modern Way California Design 1930–1965.

W. Caplan, ed. 2011.

117

This lot comprises a collection of

DOYLE LANE

have been posthumously mounted

148 vintage tiles Studio, executed c. 1965 Glazed ceramic Framed: 36.5" x 74" P ROVENA NC E Edward Fickett, Los Angeles, California; Thence by descent; Private Collection, Los Angeles, California (acquired directly from the above)

$12,000–18,000

148 vintage tiles by the artist, which within a wooden frame based on historical examples.

118 GLEN LUKENS

Glazed ceramic bowl Studio, executed c. 1950 Signed “Glen Lukens” 3.75" x 8.25" diameter P ROV E NANC E Private Collection, Los Angeles, California (acquired from Ruth and Dalzell Hatfield, Los Angeles, California, c. 1950s)

$3,000–5,000

119 GLEN LUKENS

Partially glazed ceramic bowl Studio, executed c. 1940 Signed “Glen Lukens” 1.5" x 8" diameter

$3,000–5,000

79

120 ZOLTÁN KEMÉNY Untitled c. 1961 Bronze Together with catalogue 11.25" x 11.25" x 2"

$5,000–7,000

121 ALAN DAVIE

Glass for Snake Juice 1963 Gouache on paper laid down to board Signed and dated in graphite “Alan Davie July 1963” lower left; retains remnant of Dayton’s 12 Gallery label verso Sheet (vis.): 19.5" x 29.75" Frame: 20.25" x 30.25"

$4,000–6,000

122 SALVADOR DALÍ

Small winged figure c. 1970 Ink on paper Signed in ink lower center and inscribed “Pour madame Rich Elaine” Together with Souvenir (1970), ink on page from Il Mondo di Salvador Dalí book, signed and inscribed in ink “Pour Elaine et Allan/ami.../ Dalí/.../1970,” Dalí: The Wines of Gala (1978), and signed black and white photograph of Salvador Dalí Sheet: 8.5" x 21.75" Frame: 19.875" x 33.375" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$2,000–3,000

81

123 JOHN BALDESSARI Pure Beauty 1968 Poster LAMA would like to thank the John Baldessari Studio for their assistance in cataloguing this work Sheet: 22" x 17.5" Frame: 24.5" x 19.5" Made for the artist’s solo exhibition at Molly Barnes Gallery in 1968.

$3,000–5,000

124 JOHN BALDESSARI

Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts) 1973 The complete portfolio of 15 loose sheets; 13 sheets offset photolithographs From the edition of 2,000 Published by Galleria Toselli, Milan; printed by Giampolo Prearo, Milan This includes an additional photolithograph, making 13 photolithographs in total (the set typically is comprised of 12 photolithographs) Image each: 7" x 10" Sheet each: 9.625" x 12.625"

$1,000–1,500 PARTIAL ILLUSTRATION

125 JOHN BALDESSARI

Noses & Ears, Etc.: Couple and Man with Gun 2007 Lithograph with embossing, debossing, and metal die-cut on two sheets of Somerset paper #18 of 50 Published and printed by El Nopal Press, Los Angeles Signed and dated lower right in graphite; edition lower left Image overall: 18.5" x 29.25" Sheet overall: 22.25" x 33" Frame: 24" x 34.5" P ROV E NANC E El Nopal Press, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above) LIT E RAT URE John Baldessari: A Catalogue RaisonnĂŠ of Prints and Multiples, 1971-2007. S. Coplan Hurowitz. 2009. #181.

$4,000–6,000

83

126 DAVID HOCKNEY

The Older Rapunzel (pl. 15 from Illustrations for Six Fairy Tales from the Brothers Grimm) 1969-1970 Etching and aquatint on paper #7 of 100 Published by Petersburg Press, London Signed in graphite lower right margin of sheet; edition lower left Sheet: 17.75" x 15.75" LITERATURE David Hockney Prints 1954-1995. 1996. #81.

$1,000–1,500

127 DAVID HOCKNEY

The Princess in her Tower (pl. 2 from Illustrations for Six Fairy Tales from the Brothers Grimm) 1969-1970 Etching and aquatint on paper #7 of 100 Published by Petersburg Press, London Signed in graphite lower right margin of sheet; edition lower left Sheet: 24.5" x 17.75" LITERATURE David Hockney Prints 1954-1995. 1996. #68.

$1,000–1,500

128 DAVID HOCKNEY

The Enchantress with the Baby Rapunzel (pl. 14 from Illustrations for Six Fairy Tales from the Brothers Grimm) 1969-1970 Etching and aquatint on paper #7 of 100 Published by Petersburg Press, London Signed in graphite lower right margin of sheet; edition lower left Sheet: 17.75" x 15.75" LITERATURE David Hockney Prints 1954-1995. 1996. #80.

$1,000–1,500

129 DAVID HOCKNEY

A Black Cat Leaping (pl. 25 from Illustrations for Six Fairy Tales from the Brothers Grimm) 1969-1970 Etching and aquatint on paper #7 of 100 Published by Petersburg Press, London Signed in graphite lower right margin of sheet; edition lower left Sheet: 17.75" x 15.75" LIT E RAT URE David Hockney Prints 1954-1995. 1996. #91.

$1,000–1,500

130 DAVID HOCKNEY

Pleading for the Child (pl. 37 from Illustrations for Six Fairy Tales from the Brothers Grimm) 1969-1970 Etching on paper #7 of 100 Published by Petersburg Press, London Signed in graphite lower right margin of sheet; edition lower left Sheet: 23.75" x 17.75" LIT E RAT URE David Hockney Prints 1954-1995. 1996. #103.

$1,000–1,500

131 DAVID HOCKNEY Reclining Figure

1975 Etching on Inveresk mould-made paper #8 of 15 artist’s proofs aside from the edition of 75 Published by Petersburg Press, London; printed by Dany Levy, Petersburg Press, London Signed and dated in graphite lower right margin of sheet beneath image; edition inscribed in Roman numerals lower left Image: 13.5" x 15.5" Sheet (vis.): 14.25" x 16" Frame: 22.5" x 24" LIT E RAT URE David Hockney Prints 1954-1995. 1996. #163.

$3,000–5,000

85

132 PAT STEIR Little Pool

1996 Oil on canvas Together with copy of invoice from Pamela Auchincloss Canvas: 24" x 24" Frame: 25.25" x 25.25" P ROVENA NC E Pamela Auchincloss, New York, New York; Private Collection, New York, New York (acquired directly from the above, December 1997); Private Collection, Los Angeles, California (acquired directly from the above, 2007)

$20,000–30,000

133 ROY MCMAKIN Cove table

Domestic Furniture Co., designed 1988 17" x 19" x 19" LIT E RAT URE Domestic Furniture Co. R. McMakin. 1988. N.pag.

$1,000–1,500

87

134 ROY MCMAKIN Chest

c. 2004 Graphite on paper Title inscribed in graphite lower right sheet Composition: 5.5" x 5" Sheet: 11" x 14" Frame: 14.25" x 17.25" P ROV E NANC E Marc Selwyn Fine Arts, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2004)

$800–1,200

135 JONATHAN BOROFSKY Projector Woman

1989-1990 Fiberglass, Celluclay, resin, projector, steel, and wood LAMA would like to thank the Jonathan Borofsky Studio for their assistance in cataloguing this work Sculpture: 70" x 20" x 20" Installation dimensions variable EXHIBITE D “Jonathan Borofsky: Forms of Nature,” Paula Cooper Gallery, New York, March 2-March 28, 1990 ILLUSTRAT E D Jonathan Borofsky: Dedicated to the Audience. U. Kittelmann.

1993. 58.

$10,000–15,000

136 CHARLES ARNOLDI Untitled

1991 Color lithograph on paper #92 of 200 Signed lower right margin in graphite; edition lower left Image: 22.25" x 21" Sheet: 28.25" x 24.875" Frame: 38" x 34.75"

$1,000–1,500

89

137 RICHARD HUTTEN Table - Chair

Droog, designed 1991 Model no. dd-41 Overall: 28.5" x 23.5" x 23" LIT E RAT URE Droog Design: Spirit of the Nineties. R. Ramakers. 1998. 25.

$1,500–2,000

Arthur Espenet Carpenter The Bay Area craftsman Arthur Espenet Carpenter (1920–2006) was one of the most celebrated figures in the post-war American Studio Furniture movement. A self-taught woodworker, Carpenter almost singlehandedly defined a new design aesthetic known as the “California roundover”—a style characterized by pleasingly flowing lines and gently-contoured edges that feel almost supple to the touch.

Carpenter earned an economics degree from Dartmouth College, but after serving in the U.S. Navy in the Pacific theater during World War II, Carpenter rejected the world of business, pledging instead to find work he enjoyed. Attending the “Good Design” show at the Museum of Modern Art, where he would admire the hand-turned, wooden bowls he saw there by James Prestini, he decided he would make things himself. He moved to San Francisco and, with the help of a G.I. Bill small business stipend, opened a woodworking shop in the Mission district. Carpenter started by making bowls, which he sold through local retailers. Within a few years, Carpenter had moved to the coastal town of Bolinas, where he built furniture on commission. His national reputation was sealed in 1972 when, somewhat to Carpenter’s own surprise,

his designs were shown by the Smithsonian American Art Museum’s Renwick Gallery in the exhibition “Woodenworks” alongside designs by George Nakashima, Wharton Esherick, Sam Maloof, and Wendell Castle.

Rendered with skill and affection, such offerings as Carpenter’s rosewood jewelry box or his two walnut benches exude the gentle warmth of the hand-made object. This can be said, too, of the graceful, comfortable Wishbone chair, Carpenter’s signature design. The dining table included in this sale, having wooden-hinged drop leaves supported on organically curving struts, is unusual and unique. These designs exemplify the central tenet of Carpenter’s philosophy: that beauty derives from simplicity and usefulness.

Renwick Gallery. Woodenworks; Furniture Objects by Five Contemporary Craftsmen: George Nakashima, Sam Maloof, Wharton Esherick, Arthur Espenet Carpenter, Wendell Castle. St. Paul: Minnesota Museum of Art, 1972.

Print. Iovine, Julie V., and Todd Merrill. Modern Americana: Studio Furniture from High Craft to High Glam. New York: Rizzoli, 2008. Print. Mastelli, Rick.

“Art Carpenter: The Independent Spirit of the Baulines Craftsman’s Guild.”

Fine Woodworking. Nov.-Dec. 1982: 62-68. Print.

SIGNATURE DETAIL OF TABLE

138 ARTHUR ESPENET CARPENTER Dining suite (5)

Studio, executed 1969 (chairs) and 1970 (table) Walnut and leather Chairs etched “Espenet 6931”; table etched “Espenet 7001” Comprised of a table and four “Wishbone” chairs LAMA would like to thank Arthur Espenet Carpenter III for his assistance in cataloguing these works Chairs each: 31" x 21" x 20.5" Table: 28.5" x 41.5" x 71" (with leaves extended) P ROV E NANC E Arthur Espenet Carpenter; Lucie Lawson, Sausalito, California (acquired directly from the above, c. 1970); Private Collection, Sausalito, California (acquired directly from the above, 1983)

$60,000–90,000

91

139 ARTHUR ESPENET CARPENTER Wood benches (2)

Studio, executed c. 1968 Eastern walnut Larger bench etched “Espenet 6846“ LAMA would like to thank Arthur Espenet Carpenter III for his assistance in cataloguing this work 16" x 28" x 11.5" 12" x 21.5" x 9.5" P ROVENA NC E Arthur Espenet Carpenter; Lucie Lawson, Sausalito, California (acquired directly from the above, c. 1970); June Schwarcz, Sausalito, California (acquired directly from the above, 1983); Thence by descent

$6,000–9,000

140 ARTHUR ESPENET CARPENTER Jewelry box with sliding insert Studio, executed 1968 Tropical hardwood Etched “Espenet 6808” LAMA would like to thank Arthur Espenet Carpenter III for his assistance in cataloguing this work 3.25" x 12.25" x 10.25" P ROV E NANC E Arthur Espenet Carpenter; Lucie Lawson, Sausalito, California (acquired directly from the above, c. 1970); June Schwarcz, Sausalito, California (acquired directly from the above, 1983); Thence by descent

$1,500–2,500

141 BOB STOCKSDALE

Charger and footed bowl (2) Studio, executed 1980 (charger) and 1995 (bowl) Mahoe and Magnolia wood Each with etched signature, date, and type of wood Charger: .75" x 12.5" diameter Footed bowl: 4" x 4.5" diameter P ROV E NANC E June Schwarcz, Sausalito, California; Thence by descent

$2,000–3,000

93

142 WOLFGANG PAALEN Paysage Musical 1947 Gouache on paper Title inscribed in graphite lower left sheet; retains Gallery Wendi Norris label verso Sheet (vis.): 20" x 27" Frame: 28" x 34" P ROVENA NC E The Estate of Robert Anthoine

$4,000–6,000

143 WOLFGANG PAALEN

Abstraction with Lyrical Form; Abstraction with Geometric and Lyrical Form (2) c. 1950 Woodblock print on paper A: #3 of 45; B: #5 of 45 Each signed in graphite with artist’s initials and edition lower right sheet Comprised of A: Abstraction with Lyrical Form; B: Abstraction with Geometric and Lyrical Form A: Image: 13" x 6" Sheet (vis.): 15.25" x 9" Frame: 21" x 14.75" B: Image: 13" x 5.5" Sheet (vis.): 14" x 7.5" Frame: 19" x 15.25" P ROVENA NC E The Estate of Robert Anthoine

$2,500–3,500

144 WOLFGANG PAALEN Untitled

1954 Ink on paper Initialed lower right sheet; retains Gallery Wendi Norris label verso Sheet (vis.): 2" x 4.75" Frame: 11.75" x 10.75" P ROV E NANC E The Estate of Robert Anthoine E XHIBIT E D “Wolfgang Paalen: Philosopher of the Possible,” Gallery Wendi Norris, San Francisco, February 6-March 29, 2014

$1,500–2,000

145 WOLFGANG PAALEN

Study for “Two Zones” 1991 Mixed-media on two sheets of paper mounted to board Signed and dated lower right board in graphite; titled lower left board; inscribed “To Bob and Rebecca” lower left board Overall: 11" x 16.75" Mat: 17" x 22" P ROV E NANC E The Estate of Robert Anthoine (acquired directly from the artist)

$800–1,200

95

146 MARK TOBEY

Group of prints (9) 1967-1971 Various mediums Various edition sizes Each signed with edition number in graphite Largest frame: 26" x 35.125" Smallest frame: 13.5" x 11.5" P ROVENA NC E The Estate of Robert Anthoine

$3,000–5,000

147 FRANZ BEER

Birds in Flight 1961 Oil on canvas Signed and dated lower left; signed and dated verso Canvas: 45.75" x 35" P ROV E NANC E The Estate of Robert Anthoine

$2,000–3,000

97

LABEL DETAIL

148 RAIMONDS STAPRANS Diamond Reflection 1969 Oil on canvas Signed and dated lower right; retains John F. Kennedy Museum of Art label verso Canvas: 28" x 34" Frame: 29" x 35"

$6,000–9,000

149 RAIMONDS STAPRANS Head, Brunette Girl 1966 Oil on canvas Signed and dated upper left; retains Maxwell Galleries label verso Canvas: 16" x 20" Frame: 19" x 23"

$3,000–5,000

LABEL DETAIL

99

150 RICHARD DIEBENKORN Untitled #4

1993 2-color lithograph on Hahnemühle German etching paper #32 of 42 Published and printed by Gemini G.E.L., Los Angeles Initialed and dated in graphite lower right margin of sheet beneath image; edition lower left; “© 1992 RiDi & II” blind stamp lower right edge of sheet Gemini G.E.L. #15.15 Image: 6.875" x 10.875" Sheet: 11" x 15" Frame: 17" x 21" P ROVENA NC E Gemini G.E.L., Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1995) LITERATURE Richard Diebenkorn: Prints 1948-1993. S. Figura. 2004. 34.

$1,500–2,500

151 NATHAN OLIVEIRA

Poupée (Vishnu, after Hindu Image) 1970 Gouache and ink on paper Signed and dated lower right sheet; retains Charles Campbell Gallery label verso Sheet: 19" x 15.75" Frame: 24.375" x 21.25"

$3,000–5,000

101 ALTERNATE VIEW

152 JACK ZAJAC Untitled

c. 1964 Patinated bronze Signed near base 10.75" (12" including base) x 13" x 10.5"

$2,500–3,500

Gordon Onslow Ford Gordon Onslow Ford (1912–2003) is best known as the last and youngest member of the Surrealist group that convened in Paris in the 1930s, but he was no stranger to the Bay Area vanguard, either. Between 1947 and 1959, Onslow Ford and his wife, the writer Jacqueline Johnson, lived in San Francisco. There the painter made his studio aboard the S.S. Vallejo, a decommissioned ferry docked in Sausalito.

He shared the boat with the Greek collagist and poet Jean Varda, and together the two made the vessel a salon of sorts—a floating clubhouse for an astonishingly diverse group of artists and writers, from Beat poets to members of the Bay Area Figurative movement.

Frequent visitors included the painter Lee Mullican, the writer Henry Miller, who had introduced Onslow Ford to Varda, and the sculptor Ruth Asawa, alongside whom Onslow Ford took classes in calligraphy. The surrealist Roberto Matta worked in a studio on the ship for six months in 1956. On a given night

you might find the artists Mark Tobey, Wolfgang Paalen, and Richard Bowman there. On another you could see writer Jack Kerouac, poets Allen Ginsburg, Lawrence Ferlinghetti, and Maya Angelou, or newspaper columnist Herb Caen.

For Onslow Ford, the partying ended in 1959, when he and Johnson settled into their new home on land they had acquired in Inverness in Marin County. The artist gave his share of the boat to the Zen Buddhist scholar Alan Watts, who would turn the S.S. Vallejo, for better or worse, into one of the crucibles of New Age spiritualism. Their new woodland property, the present-day Bishop Pine Preserve, would become a colony for artists and collaborators, and would remain Onslow Ford’s home until the end of his life.

Bogzaran, Fariba, Jasmine Moorhead, and Briana Tarantino. Gordon Onslow Ford: From the Vallejo. San Francisco, CA: Weinstein Gallery, 2007. Print.

“Biography.” Gordon Onslow Ford. Lucid Art Foundation, n.d. Web.

ILLUSTRATED OPPOSITE PAGE

153 GORDON ONSLOW FORD Spring of Night and Day

1999 Acrylic on paper mounted to linen Titled lower left overlap; inscribed “99.31” twice lower left linen overlap; dated “10.99” in composition lower right

154 GORDON ONSLOW FORD In Vironment

2002 Acrylic on paper mounted to linen Signed, titled, and dated verso

Composition: 36" x 71.5" Linen: 47" x 94.75"

Composition: 38.25" x 77" Linen: 43" x 81" Frame: 43.75" x 81.5"

P ROV E NANC E The Estate of Robert

P ROV E NANC E The Estate of Robert

Anthoine (acquired directly from the

Anthoine (acquired directly from the

artist)

artist)

$8,000–12,000

$20,000–30,000

103

155 GORDON ONSLOW FORD

Si tu avais idée de ton âme oiseau 1944 Gouache on paper Retains Paule Anglim Associates label verso; inscribed and dated frame verso “If only you had an idea of your soul the bird!/’44”; retains three notes written by the artist affixed to frame verso Sheet: 16.25" x 8.25" Frame: 25.25" x 17.25" This work was gifted by the artist to his wife, Jacqueline Johnson.

P ROVENA NC E Jacqueline Johnson (gifted directly by the artist); The Estate of Robert Anthoine (acquired directly from the above) LITERATURE Dynaton Re-viewed.

Gallery Paule Anglim exh. cat. 1977. 9.

$4,000–6,000

156 GORDON ONSLOW FORD Untitled

1980 Acrylic on paper Dated lower left sheet Composition: 13" x 18.5" Sheet: 15.5" x 21" Frame: 21.25" x 26.75" P ROVENA NC E The Estate of Robert Anthoine (acquired directly from the artist)

$4,000–6,000

157 GORDON ONSLOW FORD Both Sides One

1961 Parles paint on canvas Dated lower left; signed, titled, and dated verso; inscribed “Parles paint/ R192 IM and IN/91-41 C” verso Canvas: 60.25" x 44.5" Frame: 62.75" x 47" P ROV E NANC E The Estate of Robert Anthoine (acquired directly from the artist)

$15,000–20,000

105

158 Y.Z. KAMI Jorge

1998 Graphite on paper Signed and dated in graphite lower left sheet Composition: 20.75" x 12.5" Sheet: 30" x 22.25" Frame: 33.5" x 26" P ROVENA NC E Weinstein Gallery, Minneapolis, Minnesota; Private Collection, Los Angeles, California (acquired directly from the above)

$12,000–18,000

159 ENRIQUE MARTÍNEZ CELAYA Boy

2003 Bronze #1 of 5 Initialed and inscribed “MC 1” 8" x 5.5" x 7" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist) LIT E RAT URE Enrique Martínez Celaya: All The Field Is Ours. T. McEvilley. 2003. #55 for another example illustrated.

$5,000–7,000

160 ROBERT GRAHAM MOCA Torso

1992-1995 Patinated cast bronze From the edition of 3,500 Published by MOCA Editions, Los Angeles Signed “R. Graham”; bears the inscription “Val” 11" x 4.5" diameter at base

$2,500–3,500

107

161 MONA KUHN Repose

2006 Chromogenic print #1 of 3 Signed and dated with edition verso; retains M+B Gallery label verso Image/sheet: 50" x 50" Frame: 51" x 51"

$5,000–7,000

162 LOUISE NEVELSON Untitled

c. 1930 Graphite on paper Signed lower center sheet in graphite Sheet: 11.75" x 17.5" Frame: 23.25" x 28.5"

$1,500–2,000

163 LOUISE NEVELSON Untitled

c. 1930 Black ink on paper Signed in graphite upper right sheet; retains Estate of Louise Nevelson label verso Together with copy of invoice Sheet: 19.5" x 12.25" Frame: 24.25" x 17" P ROV E NANC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1999)

$2,000–3,000

164 LOUISE NEVELSON Untitled

c. 1930 Graphite on paper Signed in graphite center left sheet; retains Estate of Louise Nevelson label verso Together with copy of invoice Sheet: 20" x 15" Frame: 24.75" x 19.75" P ROV E NANC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1999) LOT 163

LOT 164

$3,000–5,000

109

165 FRANCIS BACON Triptych

1981 Set of three etchings and aquatints on Guarro paper #71 of 99 Published and printed by Polígrafa, Barcelona Signed in graphite lower right margin of sheet beneath image; edition lower left Image each: 15" x 11.5" Sheet each: 25" x 19.5" Frame each: 28.5" x 22.25" LITERATURE Francis Bacon: Œuvre Graphique. B. Sabatier. 2012. #4.

$15,000–20,000

166 PHILIP EVERGOOD

M.T. Florinsky, D.S. Mirsky and the Pidget 1928 Oil on canvas laid down on panel Signed and dated lower right; retains Wadsworth Atheneum label verso with printed text “Owner: Whitney Museum of American Art/24 West 54th St., New York 19/ Return to: Des Moines Art Center...”

Together with signed gouache and ink on paper Panel: 42.25" x 52.25" Frame: 49" x 59.25" “In the summer of 1928, Evergood visited Woodstock, and returned with WORK ON PAPER SOLD WITH LOT

LABEL DETAIL

a substantial body of work, including a double portrait of M.T. Florinsky and D.S. Mirsky, two Russian emigres...

This painting is among the very first

by Philip to exhibit the naive and direct characterization that would soon become Evergood’s trademark.” (excerpt from Philip Evergood: Never Separate from the Heart) P ROV E NANC E The Estate of Michael T. Florinsky; The Estate of Robert Anthoine (acquired directly from the above) E XHIBIT E D “Philip Evergood,” traveling exhibition, The Whitney Museum of American Art, New York; Walker Art Center, Minneapolis; Wadsworth Atheneum, Hartford; Des Moines Art Center, Des Moines; San Francisco Museum of Art, San Francisco; Colorado Springs Fine Art Center, Colorado Springs; MunsonWilliams Proctor Institute, Utica, April 5, 1960-April 30, 1961 ILLUST RAT E D Philip Evergood. The Whitney Museum of Art exh. cat.

1960. Fig. 1.

LIT E RAT URE Philip Evergood: Never Separate from the Heart. K. Taylor.

1987. 72.

$8,000–12,000

111

Oskar Fischinger A pioneer of modernism in Los Angeles, Oskar Fischinger (1900–1967) is celebrated for his transcendent and metaphysical oil paintings, as well as for his groundbreaking work in abstract film animation. Through each medium, Fischinger explored the boundaries of human perception, offering his audiences a glimpse of the infinite.

Fischinger was a champion of pure abstraction. His work in avant-garde cinema in his native Germany had won international attention by the early 1930s. Using techniques as basic as stop-motion filming and materials as simple as paper cut-outs hung by invisible wire, Fischinger produced astonishing visual effects by which brightly-colored, geometric shapes and spirals swooped, spun, and danced across the screen, shot forward, receded, and vanished.

167 OSKAR FISCHINGER Wave Five

1948 Oil on Celotex panel Signed and dated lower right; artist’s monogram lower left; retains Jack Rutberg Fine Arts Inc. label verso Panel (vis.): 31.625" x 38.75" Frame: 32.625" x 40" P ROVENA NC E The artist; Thence by descent

$10,000–15,000

At the height of the Nazi regime in Germany, Fischinger accepted a deal with Paramount and left for Hollywood in 1936. There he worked in succession for Paramount, MGM, and Disney, but grew frustrated at every stop as it became more and more apparent that the studios saw film only as a medium for storytelling. In response, Fischinger turned to painting as a creative outlet—one he pursued with vigor for the rest of his life. His artwork is often compared to that of Kandinsky and Klee, though Fischinger’s paintings uniquely embody a sense of cinematic movement. His forms resonate and pulse, move in waves, swell, and burst; or else they drift quietly in cosmic space. For Fischinger, these abstractions were means to transcendent ends. He sought, through painting, to escape the earthly, and to hint at the eternal.

Moritz, William. Optical Poetry: The Life and Work of Oscar Fischinger.

Bloomington: Indiana UP, 2004. Print. Karlstrom, Paul J., and Susan Ehrlich.

Turning the Tide: Early Los Angeles Modernists, 1920-1956. Santa Barbara: Santa Barbara Museum of Art, 1990. Print.

168 OSKAR FISCHINGER Refraction #1

1962 Oil on canvas board Signed lower right; dated with artist’s monogram lower left; retains paper label verso with stamp “Nachlaß/Oskar Fischinger” Board: 8" x 10" Frame: 9.375" x 11.375" P ROV E NANC E The artist; Thence by descent

$2,000–3,000

169 OSKAR FISCHINGER #310

1960 Oil on canvas board Signed lower right; dated with artist’s monogram lower left Board: 11.5" x 6.75" Frame: 14.5" x 9.75" P ROV E NANC E Gerald Nordland, Chicago, Illinois

$3,000–5,000

113

170 FRANK LLOYD WRIGHT Sectional sofa (4)

Heritage Henredon, designed c. 1955 Model nos. 1576, 1578, and 1582 Each retains manufacturer’s label Comprised of two end arm units, a two-seat unit, and a two-seat angled unit End arm units each: 30.5" x 26.5" x 31" Two-seat unit: 30.5" x 49.5" x 31" Two-seat angled unit: 30.5" x 68" x 31"

$6,000–9,000

ALTERNATE VIEW

171 FRANK LLOYD WRIGHT Usonian chair

Studio, executed 1939 for the George D. Sturges Residence, Los Angeles 29" x 20.5" x 19.5" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California ILLUST RAT E D Frank Lloyd Wright: Interiors and Furniture. T. Heinz. 1994. 198.

$15,000–20,000

ALTERNATE VIEW

172 FRANK LLOYD WRIGHT Usonian chair

Studio, executed 1939 for the George D. Sturges Residence, Los Angeles 29" x 20.5" x 19.5" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California ILLUST RAT E D Frank Lloyd Wright: Interiors and Furniture. T. Heinz. 1994. 198.

$15,000–20,000

115

173 KARL EMANUEL MARTIN (KEM) WEBER Desk

Custom designed for Walt Disney Studios, designed c. 1938 Retains remnants of Disney Studios label 30.5" (adjustable) x 56" x 30"

$2,000–3,000

174 KARL EMANUEL MARTIN (KEM) WEBER End table

Custom designed for Walt Disney Studios’ animation offices, designed c. 1938 13.5" x 28" x 15" P ROV E NANC E Walt Disney Studios, Burbank, California; Private Collection, Los Angeles, California (acquired directly from the above upon his retirement in 1969); Private Collection, Los Angeles, California

$2,000–3,000

175 KARL EMANUEL MARTIN (KEM) WEBER Music cabinet

Custom designed for Walt Disney Studios’ animation offices, designed c. 1938 Retains Walt Disney Studios label and stamped “WDP 44A” 29.5" x 36" x 16.5" P ROV E NANC E Walt Disney Studios, Burbank, California; Private Collection, Los Angeles, California (acquired directly from the above upon his retirement in 1969); Private Collection, Los Angeles, California

$3,000–5,000

117

176 GILBERT ROHDE Tall cabinet

Herman Miller, designed c. 1936 Marked “3622” 50" x 33" x 16.25"

$4,000–6,000

177 GILBERT ROHDE Cabinet

Herman Miller, designed c. 1936 Marked “3622” 33" x 66" x 17.75"

$4,000–6,000

178 GILBERT ROHDE Dining table

Herman Miller, designed c. 1936 Together with three leaves 29" x 38" x 64" (as illustrated)

$3,000–5,000

179 BEATRICE WOOD

Stalingrad glazed ceramic bowl Studio, executed c. 1948 Signed “Beato” 2.25" x 12.5" diameter P ROV E NANC E Private Collection, California (acquired directly from the artist); Thence by descent

$3,000–5,000

180 MARCEL DZAMA

Torture Screams Don’t Bother Me Anymore 2004 Watercolor and ink on paper Initialed, dated, and titled in graphite verso Sheet: 14" x 11" Frame: 15.625" x 12.625"

$2,000–3,000

119

181 PAUL LÁSZLÓ

Student’s desk and side chair Custom commissioned for John Hudspeth, executed 1952 Side chair: 30.5" x 19.5" x 23" Desk: 29" x 45" x 24" P ROVENA NC E John Hudspeth, Prineville, Oregon; Private Collection, Los Angeles, California (acquired directly through Los Angeles Modern Auctions, West Hollywood, California, May 22, 2005, lot 201)

$2,000–3,000

182 PAUL LÁSZLÓ

Dining chairs (6) Custom, executed c. 1948 Each: 30" x 20" x 20"

$2,000–3,000

121

183 PAUL LÁSZLÓ

Dining chairs (4) Brown-Saltman, designed c. 1948 Each: 31" x 23" x 20"

$1,500–2,000

Isamu Noguchi’s Chess Table Rarely are art and design so seamlessly resolved in one object as they are in Isamu Noguchi’s Chess Table, arguably the acclaimed sculptor’s finest piece as a designer. It is a seminal work in the development of organic modernism, which became an American design hallmark in the mid-twentieth century. For many aficionados and collectors, the Noguchi Chess Table is the most admired and coveted design of the period.

Working in his Greenwich Village studio in 1944, Noguchi (1904–1988) created the table for the art exhibition “Imagery of Chess,” organized by Marcel Duchamp and Max Ernst. Though Alexander Calder and Man Ray were also contributors, a Newsweek critic described Noguchi’s entry as “the most beautiful piece in the show.” Architect and writer George Nelson, who would become design director of the Herman Miller Furniture Company, purchased the original table.

In 1947, Nelson persuaded Herman Miller to put two Noguchi designs into production: the Chess Table and his now-iconic glass-topped coffee table with an articulated wooden base.

First offered in 1949, the Chess Table was also marketed as a coffee table. Rather than a grid of squares, Noguchi devised the playing surface as an 8 x 8 arrangement of red wax dots and inset acrylic discs to save the table from exclusive association with the game. The tabletop swivels open to reveal a cast aluminum tray with shaped hollows, which can be used to store chess pieces or other sundries. Herman Miller did not manufacture many of the Chess Tables. By one reckoning, fewer than a dozen examples still exist today.

The biomorphic elements that compose the Chess Table—the curved and flowing top, legs and tray—are just as striking and surprising now as when they were created. Throughout his career, Noguchi espoused a conviction that the everyday design objects we live with should enrich us just as much as art. The Chess Table was, perhaps, his most elegant demonstration of that belief.

Vegesack, Alexander Von., Katarina V. Posch, Jochen Eisenbrand, and Robert Wilson. Isamu Noguchi: Sculptural Design. Weil Am Rhein: Vitra Design Museum, 2001. Print. Eidelberg, Martin P., David M. Stewart, Liliane Stewart, and Kate Carmel. Design 1935-1965: What Modern Was. Montréal: Harry N. Abrams, 1991. Print. Klyber, Troy. “We’ve Got Game.” The Art Institute of Chicago. 14 Sept. 2011. Web. 01 Apr. 2016.

ALTERNATE VIEW

184 ISAMU NOGUCHI Chess Table

Herman Miller, designed 1944-1947 Model no. IN-61 19" x 26.25" x 26.5" LIT E RAT URE Design 1935-1965: What Modern Was. M. Eidelberg. 1991. 107.

$100,000–150,000

123

185 ISAMU NOGUCHI

Rudder coffee table Herman Miller, designed 1949 Model no. IN-52 15.75" x 49.5" x 35.5" LITERATURE Museu do Design: Luxo, Pop & Cool. exh. cat. 1999. 62.

$25,000–30,000

125

186 ELLSWORTH KELLY

White Curve I (Black Curve I) and Black Curve I (White Curve I) (from First Curve Series) (2) 1973 Lithograph with pencil on Special Arjomari paper #4 of 49; #50 of 50 Published and printed by Gemini G.E.L., Los Angeles Each signed in graphite lower right; edition lower left; Gemini G.E.L. blind stamp lower right Gemini G.E.L. #28.29 and #28.30 Image each: 26" x 26" Sheet each: 34" x 34" Frame each: 34.24" x 34.25" LIT E RAT URE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #99-100.

$5,000–7,000

187 SAM FRANCIS Rug

1990 Woven wool Arterior Collection Vorwerk, Germany Retains Vorwerk/Arterior Collection tag 78.75" x 118.125" LITERATURE The International Design Yearbook. Vol. 8. B. Šípek.

1993. 163, #10.

$8,000–12,000

188 FLORENCE KNOLL Sofa

Knoll, designed 1947 Model no. 26 30" x 90" x 29.5" LIT E RAT URE Knoll Furniture: 1938-1960.

S. Rouland and L. Rouland. 1999. 69.

$3,000–5,000

127 189 FLORENCE KNOLL Cabinet

Knoll, designed 1952 Model no. 542 27" x 48" x 18" LIT E RAT URE Knoll Furniture cat.

1962. 400.

$1,000–1,500

190 FLORENCE KNOLL Side table

Knoll Associates, designed 1956 Model no. 327-1S 18" x 19.5" x 19.5" LIT E RAT URE Knoll Furniture 1938-1960.

S. Rouland. 2005. 141.

$500–1,000

191 AFTER ALEXANDER CALDER Hammock

1975 Hand-woven in maguey fibers in colors with wood spreaders Proof aside from the edition of 100 Published by CAC Publications, New York; fabricated in Nicaragua Initials woven in fabric upper right 122" x 45.5"

$6,000–9,000

192 FLORENCE KNOLL Executive desk

Knoll Associates, designed c. 1961 Model no. 2485 Retains Knoll Associates, Inc. label 28.5" x 72" x 38" LIT E RAT URE Knoll Furniture cat.

1983. 194.

$4,000–6,000

129

193 FLORENCE KNOLL Credenza

Knoll, designed 1961 Model no. 2543M 25.5" x 74.5" x 18.5" LIT E RAT URE Knoll Furniture cat.

1984. 128.

$4,000–6,000

194 FLORENCE KNOLL Coffee tables (3)

Knoll Associates, designed 1952 Model no. 307 1/2 (rectangular table) Comprised of a rectangular table and two square tables Square tables each: 16" x 24" x 24" Rectangular table: 16" x 45" x 12" LITERATURE Knoll Furniture 1938-1960.

S. Rouland. 2005. 111.

$1,000–1,500

195 AD REINHARDT

Abstract Print (from the New York International Portfolio) 1966 Silkscreen on plexiglass #78 of 225 Published by Tanglewood Press, Inc., New York Initialed lower right; edition lower left Plexiglass: 12.25" x 12.25" P ROV E NANC E LACMA Store, Los Angeles, California; Private Collection, California (acquired directly from the above)

$1,500–2,000

196 DONALD JUDD Untitled

1969 Silkscreen on semi-cardboard #18 of 180 Signed in ink lower right sheet; edition lower left Image: 10.25" x 6.5" Sheet (vis.): 17.5" x 12.5" Frame: 18.5" x 13.25" P ROV E NANC E LACMA Store, Los Angeles, California; Private Collection, California (acquired directly from the above, 1970)

$3,000–5,000

131

197 HARRY BERTOIA

Untitled (Sonambient) c. 1965 Beryllium copper and brass 33.25" x 7.875" x 7.875" P ROVENA NC E Private Collection (acquired directly from the artist); Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE The World of Bertoia.

V. O. Bertoia and N. Schiffer. 2003.

177-182 for similar examples.

$30,000–50,000

198 HARRY BERTOIA

Untitled (Sonambient) c. 1968 Beryllium copper and brass LAMA would like to thank Celia Bertoia for her assistance in cataloguing this work 12.125" x 6" x 3.5" P ROV E NANC E Marcel Breuer (gifted directly by the artist, c. 1968); Thence by descent

$15,000–20,000

199 HARRY BERTOIA

Untitled (Sonambient) c. 1965 Beryllium copper and brass Together with wooden crate from the artist inscribed in black felt-tip marker “from Harry Bertoia/Bally, PA 19503” 33.5" x 7.75" x 7.75" P ROV E NANC E Private Collection, Davis, California (acquired directly from the artist); Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, March 6, 2011, lot 223) LIT E RAT URE The World of Bertoia.

V. O. Bertoia and N. Schiffer. 2003.

177-182 for similar examples.

LOT 198

$40,000–60,000 LOT 199

133

Sheila Hicks Situated at the intersection of art, design, and architecture, the work of the trailblazing fiber artist Sheila Hicks (born 1934) defies easy categorization. Like her teacher Anni Albers, Hicks elevated textile and weaving above domestic handicraft to the stratum of fine art. Hicks, like her Yale classmate Eva Hesse, forged a new acceptance of soft and unusual materials for art making. Especially significant is her weavings’ vibrancy. Bold hues and distinctive forms propel Hicks’s work toward an altogether original niche: neither sculpture nor painting but some transcendent combination of the two. As the art historian Joan Simon has written, Hicks’s “works continually press at the frontiers where the conceptual rigors and structural possibilities of textiles and the conceptual provocations, improvisatory mark-making, and the formal disruption of color, form, and texture of painterly drawing might meet and animate each other.”

As an artist working principally with fiber, Hicks shares the same concerns for surfaces and environments as an architect might. She, too, builds habitats, only abstractly and with materials like cotton yarn, wool, and silk. Since the late 1960s, Hicks has turned out monumental wall hangings for installation in public spaces, the present lot included.

Her textiles have been commissioned for buildings by such architectural giants of the past fifty years as Eero Saarinen, Ricardo Legorreta, and Kevin Roche. Rarely have they become available to the private collector.

Simon, Joan, Susan C. Faxon, and Whitney Chadwick. Sheila Hicks: 50 Years.

Andover, MA: Addison Gallery of American Art, Phillips Academy, 2010.

Print. Danto, Arthur C., Joan Simon, Nina Stritzler-Levine, and Irma Boom.

Sheila Hicks: Weaving as Metaphor. New Haven: Yale UP, 2006. Print.

200 EMBLEM DETAIL

SHEILA HICKS Untitled

1975 Cotton and applied wrapped cordage Unique Retains the emblem of Galerie Alice Pauli LAMA would like to thank Atelier Sheila Hicks and Sikkema Jenkins & Co. for their assistance in cataloguing this work Approximately 44" x 254" This work was commissioned by Winston-Salem Savings and Loan Building in Winston-Salem, North Carolina.

The work was woven by the artist in Kerala, South India and finished in her Paris, France atelier.

P ROV E NANC E Winston-Salem Savings and Loan Building, WinstonSalem, North Carolina; Private Collection, North Carolina (acquired directly from the above)

$40,000–60,000

135

201 RAYMOND PETTIBON

The Smell of Burning Rubber...

1989 Ink on paper Signed and dated in black ink verso Composition: 9.75" x 15.75" Sheet: 11.25" x 17.5" Frame: 13.25" x 19.5" P ROVENA NC E Richard/Bennett Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$10,000–15,000

202 RAYMOND PETTIBON

A Flock of Wild Ducks Passed...

1990 Ink and watercolor on paper Signed and dated in blue ink verso Sheet: 20.75" x 17.125" P ROV E NANC E Jack Hanley Gallery, San Francisco, California; Modernism Inc., San Francisco, California

$12,000–18,000

203 RAYMOND PETTIBON

There Is a Kind of Death...

1990 Ink on paper Signed and dated in blue ink verso Composition: 12.75" x 9.75" Sheet: 14" x 11" P ROV E NANC E Jack Hanley Gallery, San Francisco, California; Modernism Inc., San Francisco, California

$8,000–12,000

137

204 MIKE KELLEY

Test Room Containing Multiple Stimuli Known to Elicit Curiosity and Manipulatory Responses (Full Cast) [2] 2001 Chromogenic print mounted to Plexiglas #2 of 3 Published and printed by Patrick Painter Editions Retains signed Patrick Painter Editions label with edition verso Together with certificate of authenticity signed by Patrick Painter Image: 23" x 49.75" Sheet/frame: 29.25" x 49.75" P ROVENA NC E Patrick Painter Editions, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 2007) LITERATURE Patrick Painter Editions: 1991-2005. D. Congdon.

2006. 591.

$10,000–15,000

205 NEO RAUCH Schnitt

2009 1-color lithograph on paper #22 of 35 Signed and dated in graphite lower right margin of sheet beneath image; titled lower center margin; edition lower left margin; retains New York Academy of Art label verso Sheet: 15.5" x 10.5" Frame: 23.75" x 18.25"

$2,500–3,500

206 VIK MUNIZ

Untitled (Medusa Plate) 1999 Ceramic with printed image Edition size unknown Published by the Peter Norton Christmas Project, Santa Monica; fabricated by Bernardaud, Limoges Printed on plate verso “1999/Peter Norton Family Christmas Project/

by Vik Muniz/Made by Bernardaud in Limoges, France” Together with original packaging 12.25" diameter P ROV E NANC E Private Collection, Santa Barbara, California (gifted directly by the Norton Family); Thence by descent

$1,000–1,500

139

207 MARY CORSE

Untitled (Black/Blue Bands) 2000 Glass microspheres in acrylic paint on canvas Signed and dated verso; retains Ace Gallery label verso Canvas: 24" x 60" P ROVENA NC E Ace Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2014)

$40,000–60,000

141

208 THOM MAYNE

Café tables (2) Studio, executed c. 1987 Custom made for the interior of Kate Mantilini restaurant in Beverly Hills, California Each: 30" x 30" x 26"

$5,000–7,000

209 JULES ENGEL

Untitled; Geometric with Black Background #3, #1 (2) c. 1980 Acrylic on canvas One signed verso Canvas each: 24" x 20.125" Frame each: 25.25" x 21.25"

$3,000–5,000

210 TARA DONOVAN

Untitled (Bubble Drawing) 2003 Ink on foamcore in acrylic case Signed and dated in blue ink lower right Sheet: 48" x 48" Frame: 49" x 49" x 2.5" LITERATURE Tara Donovan. N. Baume, et al. 2008. 124 for similar example.

$10,000–15,000

211 ANALIA SABAN Ruptures: Vase

2011 Printer’s ink and laser-cut paper Unique Composition: 11.75" x 10.5" Sheet: 14.75" x 12.25" Frame: 16.5" x 14" P ROV E NANC E El Nopal, Los Angeles; Private Collection, Los Angeles, California (acquired directly from the above, 2012)

$7,000–10,000

212 ANALIA SABAN Ruptures

2011 Printer’s ink and laser-cut paper Unique Composition: 10.5" x 9.25" Sheet: 13" x 17.5" Frame: 14.625" x 19" P ROV E NANC E El Nopal, Los Angeles; Private Collection, Los Angeles, California (acquired directly from the above, 2012)

$7,000–10,000

143

213 JEFF KOONS

Balloon Dog (Blue) 1995 Cast porcelain with blue reflective finish #1,277 of 2,300 Published by MOCA Editions, Los Angeles Retains facsimile of signature on MOCA label verso Together with original box and plate stands 10.25" diameter

$10,000–15,000

145

214 ALEXIS SMITH

Lonesome Traveler 1989 Collage with matchbook, feather, zipper, suitcase, and newspaper elements Retains Margo Leavin Gallery and Whitney Museum of American Art labels verso Overall: 20.625" x 15.25" x 3.125" P ROV E NANC E Margo Leavin Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above) E XHIBIT E D “Alexis Smith,” traveling exhibition, The Whitney Museum of American Art, New York; MOCA, Los Angeles, November 22, 1991-July 5, 1992 ILLUST RAT E D Alexis Smith. The Whitney Museum of Art exh. cat.

1991. 186.

$4,000–6,000

215 RON ARAD

Empty Chairs (6) Driade for the Aleph Collection, designed 1993 Branded “Empty Chair by Ron Arad/Aleph/Made in Italy” Each: 36.5" x 17" x 22" LITERATURE 1000 Chairs. C. Fiell. 1997. 641.

$5,000–7,000

216 JOHN MILLEI

Concerning a Drowning Girl 1992 Oil on canvas Signed and dated verso Canvas: 132" x 100" P ROV E NANC E Ace Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, November 1992)

$10,000–15,000

147

PARTIAL ILLUSTRATION

ILLUSTRATED OPPOSITE PAGE

217

218

JIM ISERMANN

CHRIS FEREBEE

1999 Thermal die-cut vinyl decal

Custom, executed 1999 Retains designer’s labels

Unlimited edition size

10" x 48" x 22"

Untitled (P.S I ♥ You) (0199) (6)

Published by the Santa Monica Museum of Art (SMMoA Artist Editions Program)

Hollow Table prototype

This example is the prototype of two handmade tables produced at a later date. This prototype debuted at the Inter-

Together with SMMoA Artist Editions Program sheet

national Contemporary Furniture Fair

Comprised of six sets, each set comprised of nine decals (one set of nine illustrated opposite page)

P ROV E NANC E The artist, New York

Each: 16" x 16"

Furniture Design. teNeues exh. cat. 2002.

(ICFF) in 2000.

LIT E RAT URE Young American Designers. C. Kowalski Dougherty, ed. 2006. 15.; N. pag.

$2,000–3,000

$4,000–6,000

149

219 ROSS BLECKNER Untitled

1997 Oil on canvas Signed and dated verso; retains Mary Boone Gallery label canvas stretcher verso Together with copy of invoice from Mary Boone Gallery Canvas: 30" x 30" Frame: 34.25" x 34.25" P ROVENA NC E Mary Boone Gallery, New York, New York; Private Collection, New York, New York (acquired directly from the above, March 1998); Private Collection, Los Angeles, California (acquired directly from the above, 2007)

$12,000–15,000

220 PHILIP & KELVIN LAVERNE Eternal Forest coffee table

Philip LaVerne Collection Co., designed c. 1960s Etched signature 17" x 42" diameter

$4,000–6,000

151

221 CHARLES FINE Untitled

1996 Oil, enamel, ashaltum on canvas Signed and dated verso Canvas: 84" x 60" P ROVENA NC E Ace Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, March 1996)

$5,000–10,000

222 CHARLES FINE Alga

1998 Cast bronze and copper Incised signature and date verso 33.75" x 8" x 8" P ROV E NANC E Ace Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, May 1998)

$3,000–5,000

223 PAUL MCCOBB Credenza

Calvin, designed c. 1950 Retains label “Calvin, Grand Rapids/ Furniture Designs by Paul McCobb” 32.5" x 60.25" x 19"

$2,000–3,000

153

224 AMERICAN MODERN Floor light

Laurel Lamp Co., designed c. 1960s Base branded ”LL Co“ 57.5" x 13" diameter

$800–1,200

225 HARVEY PROBBER Sectional sofa

Harvey Probber, Inc., designed c. 1960 One retains label "Furniture Designed

by Harvey Probber" 27" x 70" x 32" (with arms) and 27" x 88" x 32"

$5,000–7,000

226 STAN KAPLAN Untitled

2003 Oil on canvas Signed and dated verso Canvas: 96" x 84" P ROV E NANC E Mary Goldman Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, June 2004)

$3,000–5,000

155

227 NORMAN BLUHM

Byzantine Windows 1992 Oil on canvas Signed and dated in several areas verso; retains David Anderson Gallery label verso LAMA would like to thank the Estate of Norman Bluhm for their assistance in cataloguing this work Canvas: 96" x 141" This painting had an alternate title, Hours of the Book: Matin, given by poet and friend of the artist Peter Gizzi. The artist retitled the painting with its present title at a later date.

P ROVENA NC E Ace Gallery, New York, New York; Private Collection, California (acquired directly from the above, May 1994) EXHIBITE D “Selections from the Bud Knapp Collection,” Schneider Museum of Art, Southern Oregon State College, Ashland, September 21-December 21, 1995

$30,000–50,000

VERSO

157

228 JULES OLITSKI

Jeremiah Vision I 1980 Acrylic on canvas Signed, titled, and dated verso LAMA would like to thank the Jules Olitski Estate for their assistance in cataloguing this work Canvas: 28.375" x 92.5" Frame: 29.875" x 94.125" P ROVENA NC E André Emmerich Gallery, New York, New York; Private Collection, California (acquired directly from the above, March 1981)

$15,000–20,000

SIGNATURE AND DATE DETAIL

229 JULES OLITSKI Love of Ariel

1989 Water-based acrylic on canvas Signed, dated, and titled verso SIGNATURE, DATE, AND TITLE DETAIL

LAMA would like to thank the Jules Olitski Estate for their assistance in cataloguing this work Canvas: 80" x 91.5" Frame: 81.25" x 92.75" P ROV E NANC E André Emmerich Gallery, New York, New York; Private Collection, California (acquired directly from the above, July 1989)

$20,000–30,000

159

230 MARCEL BREUER Coffee table

Custom, designed 1965 for the Stillman II Residence 14" x 36" x 36" P ROVENA NC E Mr. and Mrs. Rufus Stillman, Litchfield, Connecticut; Private Collection, Los Angeles, California (acquired directly through Los Angeles Modern Auctions, Van Nuys, California, May 23, 2010, lot 44) LITERATURE Marcel Breuer: New Buildings and Projects. M. Breuer. 1970. 165.

$8,000–10,000

231 MARCEL BREUER Dining table

Custom, designed c. 1970 for the Stillman III Residence 29" x 54" x 54" P ROV E NANC E Mr. and Mrs. Rufus Stillman, Litchfield, Connecticut; Private Collection, Los Angeles, California (acquired directly through Los Angeles Modern Auctions, Van Nuys, California, May 23, 2010, lot 43)

$8,000–10,000

161

232 JOSEF ALBERS

White Line Square VI (from White Line Squares Series) 1966 3-color lithograph on Arches Cover paper #5 of 5 trial proofs aside from the edition of 125 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet beneath image; title inscribed with edition in Roman numerals lower left Gemini G.E.L. #2.6 Image: 15.75" x 15.75" Sheet (vis.): 20.75" x 20.75" Frame: 22" x 22" LITERATURE The Prints of Josef Albers: A Catalogue Raisonné, 19151976. 2nd ed. B. Danilowitz. 2010. #171.6.

$2,000–3,000

233 JOSEF ALBERS

White Line Square VIII (from White Line Squares Series) 1966 3-color lithograph on Arches Cover paper #96 of 125 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet beneath image; title inscribed with edition lower left Gemini G.E.L. #2.8 Image: 15.75" x 15.75" Sheet (vis.): 20.75" x 20.75" Frame: 22" x 22" LITERATURE The Prints of Josef Albers: A Catalogue Raisonné, 19151976. 2nd ed. B. Danilowitz. 2010. #171.8.

$2,000–3,000

234 JOSEF ALBERS

White Line Square IV (from White Line Squares Series) 1966 3-color lithograph on Arches Cover paper #12 of 15 artist’s proofs aside from the edition of 125 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet beneath image; title inscribed with edition in Roman numerals lower left Gemini G.E.L. #2.4 Image: 15.75" x 15.75" Sheet (vis.): 20.75" x 20.75" Frame: 22" x 22" LIT E RAT URE The Prints of Josef Albers: A Catalogue Raisonné, 1915-1976.

2nd ed. B. Danilowitz. 2010. #171.4.

$2,000–3,000

163

235 JOSEF ALBERS

White Line Square II (from White Line Squares Series) 1966 3-color lithograph on Arches Cover paper #85 of 125 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet beneath image; title inscribed with edition lower left Gemini G.E.L. #2.2 Image: 15.75" x 15.75" Sheet: 21" x 21" Frame: 22" x 22" P ROV E NANC E Private Collection, United States (acquired directly from Gemini G.E.L., Los Angeles, California, 1967) LIT E RAT URE The Prints of Josef Albers: A Catalogue Raisonné, 1915-1976.

2nd ed. B. Danilowitz. 2010. #171.2.

$2,500–3,500

236 RICHARD NEUTRA

Architectural rendering of the Serulnic Residence 1952 Pastel and graphite on paper Inscribed and dated lower right sheet “Residence for Miss D. Studt & Mr. G. Serulnic/Los Angeles, California/Richard J. Neutra - Architect/ May 1952” Together with graphite on paper drawing of the Serulnic Residence Sheet: 23.5" x 36"

$6,000–9,000

DRAWING SOLD WITH LOT

237 RICHARD NEUTRA Camel table

Custom, executed for the Serulnic Residence, Tujunga, California, 1955 28" x 74" x 37" as a coffee table: 14" x 74" x 37" P ROV E NANC E Serulnic Residence, Tujunga, California (custom designed by ALTERNATE VIEW

the architect); Private Collection, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly through Los Angeles Modern Auctions, West Hollywood, California, May 22, 2005, lot 218) ILLUST RAT E D Richard Neutra: Completed Works. B. Lamprecht.

2000. 296.

ALTERNATE VIEW

$10,000–15,000

165

238 JULIUS SHULMAN

Sidney Eisenshtat, Temple Mount Sinai (El Paso, Tex.) (10) 1965; these examples printed c. 1965 Gelatin silver print Each with photographer’s credit stamp verso Sheet each: 8" x 10"

$2,000–3,000

239 JULIUS SHULMAN Lovell House

1950; this example printed later Gelatin silver print Retains photographer’s credit stamp verso; inscribed “761-11H/Richard Neutra/Lovell House” verso Sheet: 8" x 10"

$2,000–3,000

240 ARTHUR SIEGEL Untitled

1948 Photogram Signed in graphite lower right sheet Image/sheet: 23.5" x 19.75" Frame: 33" x 29"

$8,000–12,000

167

John Register One of the most distinctive American realist painters of the late twentieth century, John Register (1939–1996) created a stark and haunting body of work that depicts places without people—waiting rooms, hotel lobbies, office spaces empty save for a chair or two, deserted bus stations, diners, sidewalks, and streetscapes. His scenes—in their tension between light and shadow and their embrace of vivid color—evoke an existential bleakness which has prompted comparisons to the work of Edward Hopper. To this Register responded: “With Hopper you witness someone else’s isolation; in my pictures, I think you, the viewer, become the isolated one.”

Register would eventually settle in Malibu. In Southern California he found the scenery and atmosphere that imbues his art. Light is the chief element in Register’s paintings, most often in the form of pristine sunlight. Artificial illumination is relatively rare in his paintings, but can be found in such night scenes as Motel: Route 66. Whether austerely sun-drenched or starkly fluorescent, Register’s evocative depictions of the lonely and remote run the spectrum. “I look for an offbeat beauty,” said Register, who died of cancer at age 57. “I like the patina of things that have been battered by life.”

Register’s artistic career began in remarkable style. One day in 1972, not long after his 33rd birthday, Register, miserable in his New York advertising job, stood up at a meeting, announced he had a dentist’s appointment, and left for good. As he later recalled: “I saw that this was the way my whole life would be in advertising. I realized that I just couldn’t do it.”

Conrad, Barnaby. John Register: Persistent Observer. San Jose: San Jose Museum of Art, 1998. Print. Browning, Jeffrey. John Register. Santa Barbara: Black Sparrow/Modernism, 1985. Print.

241 JOHN REGISTER Motel: Route 66 1991 Oil on canvas Signed lower right; retains Modernism Inc. label verso Canvas: 35" x 50" Frame: 36.5" x 51.5" P ROVENA NC E Modernism Inc., San Francisco, California; Private Collection, West Hollywood, California (acquired directly from the above) EXHIBITE D “John Register: New Paintings,” Modernism Inc., San Francisco, September 12-October 26, 1991 ILLUSTRAT E D John Register: Persistant Observe Conrad III. 1999. 131.

$40,000–60,000

242 JOHN REGISTER

Waiting Room for the Beyond 1988 Silkscreen on paper #74 of 85 Published by Modernism Inc., San Francisco Signed and dated in graphite lower right margin of sheet beneath image; edition lower left Image: 35" x 35" Sheet: 41" x 41" Frame: 46" x 46" P ROV E NANC E Modernism Inc., San Francisco, California E XHIBIT E D “John Register Prints & Recent Works on Paper,” Modernism Inc., San Francisco, September 6-October 27, 1990

$2,000–2,500

243 RICHARD SHAFFER

Box Still-Life (GE-STELL IV) 1983 Oil on canvas Signed, titled, and dated verso Canvas: 18.625" x 16.375" Frame: 19.25" x 17.25" E XHIBIT E D “Richard Shaffer: Selected Work 1979-83,” LA Louver Gallery, Venice, May 25-June 30, 1984 ILLUST RAT E D Richard Shaffer: Selected Work 1979-1983. LA Louver Gallery exh. cat. 1984. 25.

$800–1,200

169

BOOK SOLD WITH LOT

244 PABLO PICASSO Face in a Star

1947 Rectangular dish of white earthenware clay, engobe decoration, engraved under yellow glaze #38 of 200 Madoura Retains “Madoura Plein Feu” and “Edition Picasso” stamps verso; bears the inscription “I 104” with edition verso Together with book Ramié #30 12.375" x 15.25" x 2.875" P ROVENA NC E Madoura Pottery Workshop, Vallauris, France; Private Collection, California (acquired directly from the above, October 1972) LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #30.

$6,000–9,000

245 PABLO PICASSO Visage

c. 1950 Silver pendant Stamped “Madoura/Empreinte/ Originale De/Picasso” verso 1.25" x 1.125"

$3,000–5,000

246 PABLO PICASSO

Lozenge with Bearded Man 1971 Red earthenware clay tile #191 of 500 Madoura Stamped “Poincon/Originale De/ Picasso” and “Madoura/Plein/Feu” verso; bears the inscription “J.168” with edition verso Together with notecard (illustrated) Ramié #628 Impression: 2.75" x 2.625" Tile: 5.875" x 6" x .25" LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #628.

$1,500–2,000

171

247 PABLO PICASSO

Flûtiste et Trois Femmes Nues (from La Suite Vollard) 1932; published 1939 Drypoint and scraper on Montval paper From the edition of 260 Published by A. Vollard, Paris Signed in graphite lower right margin; dated in reverse in plate in Roman numerals Image: 11.5" x 14.5" Sheet (vis.): 12.75" x 14.875" Frame: 21.5" x 20.5" P ROVENA NC E June Schwarcz, Sausalito, California; Thence by descent LITERATURE Picasso: Catalogue of the Printed Graphic Work, 1904-1967.

G. Bloch. 1968. #144.

$6,000–9,000

248 PABLO PICASSO

Young Woman, Full Face 1963 Lithograph on Rives BFK paper Bears the inscription “M 395” in graphite lower center margin of sheet; facsimile of date printed upper right sheet Sheet: 26" x 19.75" Mourlots’s only state. Mourlot calls for ten proofs (there was no edition).

$5,000–7,000

173

249 PABLO PICASSO

Profile of a Fair-Haired Woman Looking to the Right 1963 Lithograph on Arches paper Bears the inscription “M 393” in graphite lower center margin of sheet; bears the inscription “364” in graphite verso; facsimile of date printed in plate upper right sheet Sheet: 25.75" x 19.75" Mat: 31.75" x 26.25" Mourlots’s only state. Mourlot calls for ten proofs (there was no edition).

$4,000–6,000

250 HENRI MATISSE Mimosa

1951 Hand-woven wool tapestry #403 of 500 Alexander Smith & Sons Co., New York Woven initials lower left; retains manufacturer’s label with edition and facsimile signature verso 57.5" x 36"

$5,000–7,000

251 HENRI MATISSE Jules Romains

1948 Lithograph on Chine collé #46 of 300 Published by Flammarion, Paris; printed by Mourlot Frères, Paris Signed in graphite lower right sheet; edition lower left; retains label verso with printed text “From the Vincent Price Collection/Sears, Roebuck, and Co” Together with Charles d’Orléans (1950), book of lithographs with poems, #1,147 of of 1,200, published by Tériade Éditeur, Paris and printed by Mourlot Frères Image/sheet: 9.75" x 7.5" Mat (vis.): 10.5" x 8.25" Frame: 22" x 19.25" LIT E RAT URE Henri Matisse: Catalogue Raisonné des Ouvrages Illustrés. C. Duthuit. 1988. #23, #28.

$3,000–5,000

DETAIL OF BOOK SOLD WITH LOT

175

252 ALBERTO GIACOMETTI Nu Assis

1965 Lithograph on Rives BFK paper #56 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite lower right margin beneath image; edition lower left; Gemini G.E.L. blind stamp lower right edge of sheet; retains label verso with printed text “The Graphic Arts Council/LACMA/ Alberto Giacometti/An original lithograph in a limited edition of 100, commissioned by the Graphic Arts Council and printed on Rives BFK paper at Gemini L.T.D., signed and numbered by the artist” Image: 24.25" x 17" Sheet: 30" x 22" Frame: 36.5" x 28.5" P ROVENA NC E LACMA Store, Los Angeles, California; Private Collection, California (acquired directly from the above, 1966) LITERATURE Giacometti: The Complete Graphics and 15 Drawings.

H. Lust. 1970. #53.

$4,000–6,000

253 HENRY MOORE Reclining Nude

1931 Woodcut on Japon teinté #37 of 50 Published by Gérald Cramer, Geneva; printed by Fequet and Baudier, Paris Signed lower right margin of sheet in graphite; edition lower left Image: 4" x 6.375" Sheet: 9" x 12.625" LIT E RAT URE Henry Moore: Catalogue of Graphic Work. Vol. I. G. Cramer, ed., et. al. 1973. #2.

$4,000–6,000

254 HANS HAFFENRICHTER

Seated Figure, Reclining Female Figure, Embracing Figures (3) 1923 Woodblock print on paper #23 of 37; #23 of 28; #23 of 28 Each signed with edition in graphite lower left sheet; each retains Marilyn Pink Gallery labels verso Sheet each: 13.625" x 9.5" Frame each: 15.25" x 11.25"

$1,000–1,500

177

255 MATHIEU MATÉGOT Voiliers

Manufactura de Tapeçarias de Portalegre, designed c. 1960 #3 of 6 Woven wool tapestry Woven signature lower left with manufacturer's emblem; retains manufacturer’s label with artist’s signature and edition verso Together with copy of invoice from J.L. Hurschler 52" x 43" P ROVENA NC E J.L. Hurschler, Pasadena, California; Private Collection, Atlanta, Georgia (acquired directly from the above, 1981); Thence by descent

$3,000–5,000

256 MATHIEU MATÉGOT Fiction II

Manufactura de Tapeçarias de Portalegre, designed c. 1960 #1 of 6 Woven wool tapestry Woven signature lower left with manufacturer’s emblem; retains manufacturer’s label with artist’s signature and edition verso Together with copy of invoice from J.L. Hurschler 39" x 99" P ROVENA NC E J.L. Hurschler, Pasadena, California; Private Collection, Atlanta, Georgia (acquired directly from the above, 1981); Thence by descent

$4,000–6,000

179

257 MATHIEU MATÉGOT Composition

Manufactura de Tapeçarias de Portalegre, designed c. 1960 Edition size unknown Woven wool tapestry Woven signature lower right with manufacturer’s emblem 59" x 38"

$3,000–5,000

258 MATHIEU MATÉGOT

Cap d’Ail settee and chairs (4) Atelier Matégot, designed 1951 Comprised of a settee, two armchairs, and a side chair Armchairs each: 33" x 26" x 22" Side chair: 33” x 17” x 22” Settee: 32" x 55" x 22" LITERATURE Mathieu Matégot. P. Favardin. 2014. 54, 331.

$4,000–6,000

259 MAURICE ANDRE Comète

c. 1960 Woven wool tapestry #5 of 6 Pinton Frères, Aubusson Woven signature lower left; retains manufacturer's emblem woven lower right; retains manufacturer's label with artist's signature and edition verso Together with copy of invoice from J.L. Hurschler 62" x 98" P ROV E NANC E J.L. Hurschler, Pasadena, California; Private Collection, Atlanta, Georgia (acquired directly from the above, 1981); Thence by descent

$4,000–6,000

260 ZAO WOU-KI Untitled

1963 5-color etching on Arches paper #44 of 95 Published and printed by Atelier Lacourière et Frélaut, Paris Signed and dated in graphite lower right margin beneath image; edition lower left; Lacourière blind stamp lower left edge of sheet Image: 19.25" x 17" Sheet: 30" x 22.375" Frame: 34" x 26.75" LIT E RAT URE Zao Wou-Ki: Les Estampes, 1937-1974. Y. Rivière. 1975. #154.

$2,000–3,000

181

261 DIEGO RIVERA

Estudio para Fresco de la Secretaria de Education 1928 Charcoal on paper mounted to cardstock Signed and dated in graphite lower left sheet; retains partial Instituto Nacional de Bellas Artes label verso Composition: 23" x 12" Sheet: 25" x 16.5" Cardstock: 25.75" x 16.625" P ROVENA NC E Zeitlin & Ver Brugge, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above); Private Collection, Los Angeles, California (gifted directly by the above, 1950); Thence by descent

$5,000–7,000

262 MIGUEL CUEVAS Untitled (#3)

1962 Watercolor on paper Inscribed upper right “Un dia de Junio 1949 me entere que Mireya/ habia muerto de leucemia”; signed and dated “#3/28 August 62/ Cuevas” lower right Sheet (vis.): 5.75" x 9" Frame: 13" x 16.25"

$800–1,200

183

263 RAFAEL CORONEL

Portrait of Diego Rivera 1958 Ink and watercolor on paper Signed and dated lower right sheet Sheet (vis.): 25" x 19" Frame: 36.25" x 27.25"

$4,000–6,000

264 RUFINO TAMAYO Sandías

1980 Mixografia print on handmade paper #14 of 25 artist’s proofs aside from the edition of 100 Published by Mixografia, Los Angeles; printed by Taller de Gráfica Mexicana, Mexico City Signed lower right; edition inscribed in Roman numerals lower left Image: 25.5" x 34.5" Sheet: 30" x 40" Frame: 44" x 54" LITERATURE Rufino Tamayo: Catalogue Raisonné: Gráfica 1925-1991. J. Carlos Pereda. 2004. #285.

$7,000–9,000

265 ELLSWORTH KELLY

Tangerine (Mandarine) (from Suite of Plant Lithographs) 1964-1965 Lithograph on Rives BFK paper #36 of 75 Published by Maeght Éditeur, Paris; printed by Marcel Durassier, Paris Signed lower right; edition lower left Image: 26" x 17" Sheet: 35" x 24" Frame: 35.5" x 24.5" P ROV E NANC E Galerie Maeght, Paris, Francis; Private Collection, California (acquired directly from the above, October 1972) LIT E RAT URE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #34.

$4,000–6,000

266 MARTHA ALF Apple #6

1980 Graphite on Strathmore paper Signed, dated, and titled verso Sheet (vis.): 10.625" x 13.375" Frame: 17" x 19.75"

$800–1,200

185

STAMP DETAIL

267 GIO PONTI Urn

Nino Ferrari, designed c. 1933 Stamped “Made in Italy” and “Nino Ferrari” 21" x 19" diameter

$10,000–15,000

268 GIO PONTI

Superleggera chair Cassina, designed 1957 33.5" x 17" x 19"

$1,000–2,000

187

269 GINO CENEDESE & C. Aquarium

Gino Cenedese & C., designed c. 1950 6.5" x 14" x 2.75" LIT E RAT URE Italian Glass: Murano Milan 1930-1970. H. Ricke. 1997. 304 for manufacturer information.

$2,500–3,500

270 GAETANO PESCE Up 1 chair

C&B Italia, designed 1969 25.5" x 39" x 39"

$2,500–3,500

271 GAETANO PESCE

Rolling workstation Custom designed for the TBWA\Chiat\ Day advertising agency, New York, 1991 51.5" x 63" x 43" P ROVENA NC E TBWA\Chiat\Day, New York, New York; Private Collection, California

$3,000–5,000

189

272 GAETANO PESCE Door

Custom designed for the TBWA\Chiat\ Day advertising agency, New York, 1991 86" x 36" P ROV E NANC E TBWA\Chiat\Day, New York, New York

$2,000–3,000

273 ETTORE SOTTSASS

Malabar room divider Memphis Milano, designed 1982 Retains metal tag “Memphis Milano Made in Italy Ettore Sottsass 1982” Printed laminate on cabinet designed

by Mario Radice 92.5" x 100" x 19.5"

$4,000–6,000

274 ROBERT VENTURI Art Deco chair

Knoll International, designed 1984 Retains Knoll International label 31" x 22" x 21"

$3,000–5,000

191

275 EMERSON WOELFFER Cook and Fish 1943 Oil on canvas Signed lower left; signed, dated, and retains Chicago and Vicinity 47th Annual exhibition label verso Canvas (vis.): 29.5" x 39.5" Frame: 39.125" x 49.25" EXHIBITE D “Chicago and Vicinity 47th Annual,” the Art Institute of Chicago, Chicago, March 11-April 25, 1943

$8,000–12,000

Emerson Woelffer A self-described “abstract surrealist,” the painter, collagist, and teacher Emerson Woelffer (1914–2003) was in many ways the very ideal of a postwar American artist. His distinctive style of Abstract Expressionism was inflected by his many and varied interests and experiences. He was a student at the Art Institute of Chicago before becoming employed in the WPA artist’s program and then as a teacher at László Moholy-Nagy’s Institute of Design in Chicago. Woelffer also lived and worked for a period in Mexico and in Italy; played jazz drums; and collected ethnographic art as well as cars.

A close friend of Robert Motherwell and Buckminster Fuller, he was invited to teach at the storied Black Mountain College in North Carolina in 1949. Woelffer came to Los Angeles a decade later and, upon taking a position as an instructor at the Chouinard Art Institute, became mentor to an impressive roster of devoted students that included Larry Bell, Ed Ruscha, Joe Goode, and Chuck Arnoldi.

unconsciously and without intention—and by free-form jazz improvisation. Marked by runes and ciphers—X’s, O’s, and seeming proto-numbers and -letters—many of his canvases suggest primitive pictographs. His work was shaped, too, by the environments which surrounded him, and his move to Southern California prompted a discernable shift to bolder, brighter colors in his paintings.

Emerson Woelffer’s work is both erudite and intuitive; his personal style cosmopolitan, cool, and casual. He was inspired by the Surrealists’ notion of “automatism”—painting

Ruscha, Ed, and Gerald Nordland. Emerson Woelffer: A Solo Flight. Valencia, CA: REDCAT, California Institute of the Arts, 2003. Print. Drohojowska-Philp, Hunter. Emerson Woelffer: Selections from a Career. Manny Silverman Gallery. Los Angeles. 2014. Print.

Certainly one of Woelffer’s most enduring legacies is the inspiration he gave his students. Not long after Woelffer’s death, Ed Ruscha curated a survey of his work at the California Institute of the Arts’s REDCAT Gallery. Woelffer taught that “art was simply a thing to be practiced rather than studied. Paint a picture rather than study about the painting of a picture,” Ruscha wrote for the catalogue to that exhibit. “He could get you to dive into the pool without ever using the word dive or the word pool or the words into the.”

276 EMERSON WOELFFER Untitled

c. 1950 Casein on board Signed lower right Retains Manny Silverman Gallery label verso Board: 26.75" x 19" Frame: 29.75" x 21.75"

$3,000–5,000

193

277 EMERSON WOELFFER Forio #5

1957 Oil and enamel on canvas Signed upper left; signed, titled, and dated verso; inscribed “Forio d’Ischia/ITALIA” verso; retains Manny Silverman Gallery, HackettFreedman Gallery, and Vanderwoude Tananbaum Gallery labels verso Together with two exhibition catalogues (one signed) and copy of invoice from Hackett-Freedman Gallery Canvas: 27.375" x 19.875" Frame: 29.5" x 22" P ROVENA NC E Hackett-Freedman Gallery, San Francisco, California; Private Collection, Los Angeles, California (acquired directly from the above, March 2006) EXHIBITE D “Emerson Woelffer: A Survey Exhibition-The Years 19471974,” Newport Harbor Art Museum, Newport Beach, April 27-June 2, 1974 ILLUSTRAT E D Emerson Woelffer: A Survey Exhibition-The Years 19471974. Newport Harbor Art Museum exh. cat., 1974. #13.; Emerson Woelffer: A Solo Flight. G. Nordland.

2003. 10.

$6,000–9,000

195 278 EMERSON WOELFFER Madrid; Forio (2)

1959 Oil and mixed media on paper Each signed and dated in graphite lower left; each titled lower right Madrid: Sheet: 26.75" x 20.375" Frame: 33.25" x 26.75" Forio: Sheet: 25.75" x 18.875" Frame: 33.25" x 26.25"

$4,000–6,000

279 EMERSON WOELFFER

Forio d’Ischia Napoli Italia: Italian Facade 1959 Gouache on paperboard Signed and dated in graphite lower left; signed, dated, and inscribed “Forio d’Ischia Napoli Italia/Italian Facade” verso Board: 27.75" x 21" Frame: 30.75" x 24.25"

$4,000–6,000

280 EMERSON WOELFFER Forio d’Ischia

1958 Mixed-media collage on paper

LOT 279

Signed, dated, and inscribed “For Ray Dec 8, 1958 Forio d’Ischia Woelffer 58” Sheet: 9" x 6.75" Frame: 14.75" x 12.5"

$2,500–3,500

281 EMERSON WOELFFER Untitled

1954 Woodblock print with gouache Signed and dated Sheet: 22.25" x 17" Frame: 27.125" x 21.875"

$1,500–2,000 LOT 281

LOT 280

282 EMERSON WOELFFER Summer Poet #3

c. 1975 Machine-woven wool rug Woven signature lower right 83" x 63"

$2,000–3,000

197

283 ROBERT RAUSCHENBERG

Flower Re-Run (from Reels B+C) 1968 3-color lithograph on Rives BFK paper #3 of 9 artist’s proofs aside from the edition of 52 Published and printed by Gemini G.E.L., Los Angeles Signed, dated, and with edition in graphite lower right sheet; Gemini G.E.L. blind stamp lower right sheet Gemini G.E.L. #41.14 Image: 20" x 15" Sheet: 23.25" x 18.5" Frame: 25" x 19.75" LITERATURE Robert Rauschenberg: Prints 1948-1970. E.A. Foster. 1970. #56.

$2,500–3,500

284 ROBERT RAUSCHENBERG Aperture–40 Years

1992 Photolithograph on paper Signed in graphite lower left sheet; signature and date in plate lower right sheet Image/sheet (vis.): 29.5" x 24.75" Frame: 30.25" x 25.25" P ROVENA NC E Aperture Foundation, New York, New York; The Estate of Robert Anthoine (acquired directly from the above)

$800–1,200

285 ROBERT RAUSCHENBERG Arcade

1975 Color lithograph on paper #90 of 100 Signed and dated with edition in graphite lower right sheet Image/sheet: 29.5" x 22" Frame: 32.625" x 25.125"

$1,500–2,000

199

286 ROBERT RAUSCHENBERG Untitled

1975 Color lithograph on paper #58 of 100 Published by the Graphic Arts Council, LACMA, Los Angeles; printed

by Original Press, San Francisco Signed and dated with edition in graphite lower right sheet; “GAC/ LACMA” and “Untitled Press” blind stamps lower left edge of sheet Image/sheet: 30" x 23" Frame: 37" x 29.625"

$800–1,200

287 JIM DINE

Untitled (from Ten Winter Tools) 1973 Lithograph on German Etching Deluxe paper #2 of 10 artist’s proofs aside from the edition of 100 Published by Petersburg Press, New York; printed by William Law Signed in graphite lower left margin of sheet; edition lower center; dated lower right with printer blind stamp Image: 9" x 8" Sheet: 30" x 22" Frame: 30.25" x 24.375" LITERATURE Jim Dine, Prints: 1970-77.

Williams College exh. cat. 1977. #114.

$1,000–1,500

288 JIM DINE & LEE FRIEDLANDER

Untitled (Pl. IX from Photographs and Etchings) 1969 Photograph and etching on Hodgkinson hand-made waterleaf paper #53 of 75 Signed by each artist in graphite lower center edge of sheet with edition Sheet: 17.75" x 30" Frame: 20.5" x 32.75" “Lee Friedlander and I met in 1962. He gave me a photograph of Cincinnati without knowing that I am from there.

We have been exchanging things all the time since then. Friendship and pictures.

Our work is from the same house. He always understands my words.” (Jim Dine, 1969) LITERATURE Jim Dine: Complete Graphics. Galerie Mikro Berlin cat.

1970. #55j.

$2,000–3,000

289 R.B. KITAJ

Group of prints (8) 1965-1980 Screenprint on paper Various edition sizes Each signed in graphite with edition Comprised of Hellebore for Georg Traki (1965); Bacon I (1968-69); Jot em Down Store (1970); The Adding Machine (1972); Cutie (1974); Waiting for Lefty (1974); The Red Dancer of Moscow (1975); A New Chinese Edition (1980) Largest unframed image/sheet: 39.75” x 29.5” Smallest framed: 28.25” x 22.25” P ROV E NANC E The Estate of Robert Anthoine

$2,000–3,000

201

290 WALTER LAMB Armchairs (2)

Brown-Jordan Co., designed c. 1950 Model no. C-5700 Each: 31" x 22" x 30" P ROVENA NC E Bob and Dolores Hope, Palm Springs, California; Private Collection, Los Angeles, California (acquired directly through Julien's Auctions, Beverly Hills, California, September 20, 2013, lots 98-99).

LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,500–3,500

291 WALTER LAMB Armchairs (2)

Brown-Jordan Co., designed c. 1950 Model no. C-5700 Each: 31" x 22" x 30" P ROVENA NC E Bob and Dolores Hope, Palm Springs, California; Private Collection, Los Angeles, California (acquired directly through Julien's Auctions, Beverly Hills, California, September 20, 2013, lots 98-99).

LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,000–3,000

292 WALTER LAMB

Chaise lounges (2) Brown-Jordan Co., designed c. 1950 Model no. C-4700 Each: 32.5" x 66" x 27.5" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$5,000–7,000

293 WALTER LAMB Bench

Brown-Jordan Co., designed c. 1950 Model no. C-5714 14" x 72" x 24" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,500–3,500

294 WALTER LAMB

Planter Pedestal with Containers (2) Brown-Jordan Co., designed c. 1950 Model no. 710 Each: 25" x 16" diameter LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$1,500–2,000

295 WALTER LAMB Armchairs (4)

Brown-Jordan Co., designed c. 1950 Model no. C-5700 Each: 30.5" x 23.5" x 27" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$5,000–7,000

203

296 WALTER LAMB

Table and chairs (5) Brown-Jordan Co., designed c. 1950 Model nos. C-2700 (table) and C-1700 (chairs) Comprised of a round table and four side chairs Table: 28.25" x 42.5" diameter Chairs each: 32" x 18.5" x 21.5" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$4,000–6,000

297 WALTER LAMB

Table and chairs (3) Brown-Jordan Co., designed c. 1950 Model no. AA-2700 (table) Comprised of a square table and two chairs Table: 28.5" x 35.5" x 35.5" Chairs each: 23" x 23" x 18.5" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$1,800–2,500

298 WALTER LAMB

Sleigh chair and ottoman (2) Brown-Jordan Co., designed c. 1950 Model nos. C-5720 (chair) and C-5726 (ottoman) Chair: 28" x 32.5" x 23" Ottoman: 10" x 20" x 18.5" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,000–3,000

299 WALTER LAMB

Sleigh chair and ottoman (2) Brown-Jordan Co., designed c. 1950 Model nos. C-5720 (chair) and C-5726 (ottoman) Chair: 28" x 32.5" x 23" Ottoman: 10" x 20" x 18.5" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,000–3,000

300 WALTER LAMB Rocking chair

Brown-Jordan Co., designed c. 1950 31.75" x 21.25" x 31" P ROV E NANC E Bob and Dolores Hope, Palm Springs, California; Private Collection, Los Angeles, California (acquired directly through Julien's Auctions, Beverly Hills, California, September 20, 2013, lots 98-99).

$1,500–2,000

205

301 WALTER LAMB

Waikiki lounge rockers (2) Brown-Jordan Co., designed c. 1950 Model no. 4720 Each: 17.5" x 22" x 72" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$3,000–5,000

302 WALTER LAMB

Waikiki lounge rockers (2) Brown-Jordan Co., designed c. 1950 Model no. 4720 Each: 17.5" x 22" x 72" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,500–3,500

303 WALTER LAMB

Lounge armchairs and ottoman (3) Brown-Jordan Co., designed c. 1950 Model no. C-5700 (armchairs) Comprised of two lounge armchairs and ottoman Ottoman: 10" x 20" x 18" Armchairs each: 30.5" x 23.5" x 27" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$3,000–5,000

304 WALTER LAMB

Rocking chairs and side table (3) Brown-Jordan Co., designed c. 1950 Model no. C-5701 (chairs) Comprised of a side table and two rocking chairs Side table: 22.5" x 25.5" x 25.5" Rocking chairs each: 32" x 20.5" x 32" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$3,000–5,000

305 WALTER LAMB

Waikiki lounge rocker Brown-Jordan Co., designed c. 1950 Model no. 4720 17.5" x 22" x 72" P ROV E NANC E Bob and Dolores Hope, Palm Springs, California; Private Collection, Los Angeles, California (acquired directly through Julien's Auctions, Beverly Hills, California, September 20, 2013, lots 98-99).

LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$1,000–1,500

306 WALTER LAMB Chaise Lounge

Brown-Jordan Co., designed c. 1950 Model no. C-4700 32.5" x 66" x 27.5" P ROV E NANC E Bob and Dolores Hope, Palm Springs, California; Private Collection, Los Angeles, California (acquired directly through Julien's Auctions, Beverly Hills, California, September 20, 2013, lots 98-99).

LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,500–3,500

207

307 VARIOUS ARTISTS

Portfolio for the 23rd Olympiad 1982-1984 Comprised of 15 offset color lithographs on Parsons Diploma Parchment including the linen portfolio case From the unnumbered edition of 750 Published by Knapp Communications Corporation, Los Angeles Each signed by the artist in the margin (with the exception of the Rauschenberg, with printed initials instead); each with printed text in margin “Los Angeles 1984 Olympic Games/Copyright 1982 Los Angeles Olympic Organizing Committee Published by Knapp Communications Corporation” Artists include Billy Al Bengston, Carlos Almaraz, John Baldessari, Jennifer Bartlett, Lynda Benglis, Jonathan Borofsky, Richard Diebenkorn, Sam Francis, April Greiman/Jayme Odgers, David Hockney, Roy Lichtenstein, Martin Puryear, Robert Rauschenberg, Raymond Saunders, and Garry Winogrand Together with certificate from Knapp Communications Corporation Sheets each: 36" x 24" (some with alternate orientation) Portfolio: 38" x 25.5" x 2"

$4,000–6,000

308 PETER SHIRE Teapot

Studio, executed 1981 Signed “Shire X 1981” 7" x 5.25" x 1.5"

$1,500–2,000

309 PETER SHIRE Table

Studio, executed 1984 Stamped “Shire 1984” with artist’s cipher 20.25" x 32" x 32"

$2,000–3,000

209

310 JOEL-PETER WITKIN

Counting Lessons in Purgatory, New Mexico 1982 Gelatin silver print #13 of 15 Signed, titled, dated, with edition and copyright in graphite verso Image/sheet (vis.): 14" x 14" Frame: 26.25" x 26.25" P ROVENA NC E Etherton Gallery, Tucson, Arizona; Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE Joel-Peter Witkin. G. Celant. 1995. Pl. 26.

$3,000–5,000

SOLD TO BENEFIT THE LAGUNA ART MUSEUM

311 JERRY ROTHMAN

Modern Ritual Vessel (Series 12 of 14) Studio, executed 1979-1981 17.75" x 14" x 11" P ROV E NANC E Laguna Art Museum, Laguna Beach, California

$2,500–3,500

SOLD TO BENEFIT THE LAGUNA ART MUSEUM

312 JERRY ROTHMAN

Modern Ritual Vessel (Series 13 of 14) Studio, executed 1980-1981 13" x 16" x 17" P ROV E NANC E Laguna Art Museum, Laguna Beach, California

$2,500–3,500

211

313 AMERICAN MODERN Bookcase

Manufacturer unknown, designed c. 1968 29.5" x 78" x 21"

$2,500–3,500

314 AMERICAN MODERN Chairs (2)

Welton Becket & Associates, designed 1965 for the Los Angeles Music Center Each retains “The Music Center Operating Company” label 36.75" x 21" x 19" 34.75" x 21" x 19"

$2,500–3,500

315 JAMES HAYWARD

Athenian Green/Violet/GreyGreen/Dark Neutral 1986 Oil on four canvases in two parts Overall: 41" x 132" E XHIBIT E D “Highlights of California Art Since 1945: A Collecting Partnership,” Newport Harbor Art Museum, 1987

$5,000–10,000

316 DON GIFFIN Triple Play

1995 Resin and pigment on panel Signed, titled, and dated verso Panel: 36" x 36" Frame: 37.25" x 37.25"

$2,000–3,000

213

317 ARISTODIMOS KALDIS Untitled

c. 1972 Oil on canvas Signed verso Canvas (vis.): 31" x 39" Frame: 34.75" x 42.875"

$4,000–6,000

318 RICHARD BOWMAN Aerospace

1952 Oil on canvas Signed and dated lower left Canvas: 32.25" x 27" Frame: 38" x 33"

$2,000–3,000

319 MARIE ZOE GREENE-MERCIER Orpheus Eurydice c. 1961 Patinated bronze Etched signature “MZ GREENE” at base 25" x 14" x 8"

$2,000–3,000

215

320 ÉDGAR NEGRET Torre

1990 Aluminum Titled, signed, and dated in felt-tip marker to underside 23" x 6.75" x 6.75" P ROV E NANC E Private Collection, San Antonio, Texas (acquired directly from the artist)

$8,000–12,000

LOT 321

321 HAROLD FRANK Untitled

c. 1965 Mixed-media on panel LOT 322

Signed lower right Panel (vis.): 23.25" x 16" Frame: 27.75" x 20.125"

$1,200–1,500

322 HAROLD FRANK

Untitled (Portrait of a Woman) c. 1965 Mixed-media on paper Signed lower left Sheet (vis.): 14.75" x 11.375" Frame: 24.5" x 20.625"

$1,000–1,500

323 HAROLD FRANK Untitled (2)

1963 Mixed-media on panel A: Signed and dated lower right; B: Signed lower right Comprised of A: Untitled (Pair of Nude Women); B: Untitled (Nude Woman) A: Panel (vis.): 11.75" x 8.75" Frame: 18" x 14.875" B: Panel (vis.): 15.125" x 11.125" Frame: 19.25" x 15.25"

$800–1,200

LOT 323

LOT 323

LOT 324

324 HAROLD FRANK Untitled

1961 Oil on canvas with artist’s frame Signed and dated lower right Canvas: 15" x 11.625" Frame: 15.5" x 12"

$1,500–2,000

325 HAROLD FRANK

LOT 325

Untitled

1960 Gouache on paper Signed and dated in ballpoint pen lower right Sheet (vis.): 11.375" x 16.375" Frame: 17.75" x 22.75"

$1,000–1,500

326 LOT 326

LOT 327

HAROLD FRANK

Untitled (Woman) c. 1965 Mixed-media on panel Signed lower left Panel (vis.): 13" x 11.25" Frame: 19.25" x 15.5"

$800–1,200

327 HAROLD FRANK Untitled

c. 1965 Mixed-media on panel Signed lower right Panel (vis.): 19.25" x 15.375" Frame: 23.5" x 19.5"

$1,000–1,500

217

Conditions of Sale/Notice to Buyers The following are our “Conditions of Sale” for the items listed in this catalogue to be sold by Modern Auctions, Inc. (“MAI,” L.A. Modern Auctions, or “LAMA”) on May 22, 2016. We are acting as an agent on behalf of our consignors.

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CON DI T I ON Everything is sold in“As-Is” Condition.

No statement regarding condition of any item, whether it is made orally at the auction, or in writing, or printed in this catalogue, or at any other time shall be deemed to be a warranty, representation, or assumption of liability. It is the sole responsibility of the buyer to inspect all goods prior to the sale. We strongly encourage all bidders to request a condition report on any item before bidding. All electrical items are sold for decorative value only and should be assumed not to be working. All measurements are approximate.

Photographs of any lots not illustrated can be found on our website, lamodern.com.

COL L ECT I O N & STO RAGE All lots must be removed from the auction showroom by 12:00p.m.

(PT) on June 21, 2016. Purchases not removed by June 21, 2016 will be assessed a daily storage fee of $15 per day per lot. Items in storage are not insured

by Modern Auctions, Inc. Unless other arrangements are made and confirmed in writing, the buyer assumes sole responsibility for shipping, packing, insurance, and storage concerns. A list of shippers can be provided upon request.

B I DDI N G We encourage you to attend the sale in person. However, if you are unable to attend in person we offer an “absentee” or phone bidding service. For this service fill out and submit an Absentee/Phone bid form. To obtain this form please call 323.904.1950 or go to our website. We will not execute absentee or phone bid orders unless a signed and completed bid form has been received. All Absentee/Phone bid forms must be received by Saturday, May 21, 2016 by 5:00pm (PT) via fax to 323.904.1954 or scanned and sent via email to shannon@lamodern.com. We encourage you to call after faxing to confirm we have received your bid. We kindly ask that you do not call on the day of the sale to submit bids or to check if your bids were successful.

All successful absentee/phone bidders will be notified by phone or email by May 24, 2016. In addition, the auction prices realized will be posted the day after the sale on our website. Do not rely on any auction results (prices realized) unless published on www.lamodern.com or as provided directly by Modern Auctions, Inc. Absentee/Phone bids are on a first-come, first-served basis; thus, we encourage you to submit your form ASAP. If identical absentee bids are submitted, the earliest received will take precedence. The number of phone lines available are limited so please submit your phone requests early. On all absentee/phone bid forms, please leave a valid credit card number with expiration date; a deposit of 25% may be required for all absentee and phone bids. For those absentee/phone bidders who are unable to come in personally to pay, we will only accept either a certified check or wire transfer as a method of payment (see “Payment” notice). The party responsible for submitting the absentee or phone bid is solely responsible for the payment in full of the total invoice. We will not make any changes to an invoice.

Should a dispute arise after the sale, our sale records are conclusive. We are not responsible for failure to execute a bid and have the right to reject any bid. We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal.

Should an item be withdrawn, the auctioneer will make an announcement at the time the lot would have been put up for sale. In addition, the auctioneer may add lots not previously listed in the catalogue or addendum. If the buyer does not comply with all of the notices to buyers, Modern Auctions, Inc. reserves the right to cancel the sale, hold the defaulting buyer liable for the purchase price and buyer’s premium, retain or process any deposit, and resell

the property privately or at auction without further notice.

In the latter, the defaulting buyer will be held responsible for all incurred expenses, such as warehouse and transportation costs, commissions, incidentals, and shall be liable for payment of any deficiency in the purchase price.

This is strictly enforced. We reserve the right to assess a late charge of 1.5% of the total purchase price per month if payment is not made in accordance with any of these conditions of sale.

If a suit, action, arbitration or other proceeding of any nature whatsoever is instituted in connection with any controversy arising out of these Conditions of Sale, the sale of items, the auction or any breach thereof between the bidder or buyer and Modern Auctions, Inc., the prevailing party shall be entitled to recover its attorney’s fees and costs incurred in connection with such proceeding.

GUA RA N TEE The authenticity of every item offered for sale is guaranteed. Modern Auctions, Inc. warrants only the authorship of an item (as printed in the line directly below the lot number, may be blue, pink, or white type) and does not guarantee the condition, age, or any identifying characteristic used by Modern Auctions, Inc., in any descriptions such as color, method of construction, and type of materials. Any lot using the terms “attributed,” “attribution,” “in the style of,” “in the manner of,” or “after” does not qualify for our guarantee.

In addition, the buyer assumes responsibility for reading all addendums and posted corrections to the catalogue prior to bidding.

RESCI SSI O N Should the authenticity of an item be disputed after a sale, the buyer has 90 days from the date of the auction to provide written documentation or conclusive opinion of a mutually agreed upon independent expert, retained at the buyer’s sole expense, that the item in question is not as stated in the catalogue. In the event of an error, Modern Auctions, Inc. will rescind the purchase contract. Modern Auctions, Inc. will reimburse the buyer for no more than the hammer price plus the buyer’s premium and only after the item is returned to the original point of sale in the condition in which it was sold. Taxes, packing, shipping, and storage costs will not be reimbursed.

Modern Auctions, Inc. is not liable for any costs, such as expert’s and attorney’s fees. If the item is authentic, as stated in the Modern Auctions, Inc. catalogue, then the purchaser shall bear Modern Auctions, Inc.’s expenses incurred in defense of the allegation, such as attorney’s fees and other costs. The limited right of rescission is only available to the original purchaser from Modern Auctions, Inc. Once the item is resold, then all rights and liabilities of Modern Auctions, Inc. regarding authenticity end. The Purchaser’s sole and exclusive

remedy against Modern Auctions, Inc. for any reason is the limited right of rescission described in this section. The purchaser shall not be entitled to damages, compensatory, incidental, consequential, nominal or punitive, nor any expenses incurred during the proceedings, such as expert’s fees, attorney’s fees, and other costs.

RI GH TS TO PH OTO GRA PH S All images and text contained in this catalogue are the sole property of Modern Auctions, Inc., and may not be used or reproduced in any medium without the expressed written permission of Modern Auctions, Inc.

Modern Auctions, Inc. | Bond # 7900405194 Peter Loughrey, Principal Auctioneer Los Angeles Modern Auctions (LAMA) 16145 Hart Street, Van Nuys, CA 91406

April /May

8070 Beverly Blvd, los Angeles, CA 90048 lA-gAllery@tAsChen.Com, +1 323 852-9098

Reigning Men Fashion in Menswear 1715–2015 April 10–August 21, 2016 Sponsored by

Los Angeles County Museum of Art 5905 Wilshire Boulevard | LACMA.org

Always free for members and children 17 and under Coat (detail), France, c. 1800, Los Angeles County Museum of Art, gift of B. Rich; Vest (detail), France, c. 1800, Los Angeles County Museum of Art, purchased with funds provided by Suzanne A. Saperstein and Michael and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao, and Lenore and Richard Wayne. Photo © Museum Associates/LACMA

Index A

Fischinger, Oskar . . . . . . . . . . . . . 167-169

M

S

Aalto, Alvar. . . . . . . . . . . . . . . . . . . . . . 44

Francis, Sam . . . . . . . . . . . . . . . . 187, 307

Maloof, Sam. . . . . . . . . . . . . . . . . . . 114-115

Saban, Analia. . . . . . . . . . . . . . . . . . 211-212

Albers, Josef. . . . . . . . . . . . . . . . 232-235

Frank, Harold. . . . . . . . . . . . . . . . . 321-327

Mangold, Sylvia . . . . . . . . . . . . . . . . . . . 19

Saccaro, John . . . . . . . . . . . . . . . . . . . . . 13

Alexander, Peter. . . . . . . . . . . . . . . 92-94

Frey, Viola . . . . . . . . . . . . . . . . . . . . . . . 102

Martínez Celaya, Enrique. . . . . . . . . . . 159

Alf, Martha. . . . . . . . . . . . . . . . . . . . . . 266

Shaffer, Richard . . . . . . . . . . . . . . . . . 243

Friedlander, Lee. . . . . . . . . . . . . . . . . . 285

Matégot, Mathieu. . . . . . . . . . . . 255-258

Shire, Peter. . . . . . . . . . . . . . . . . 308-309

André, Maurice. . . . . . . . . . . . . . . . . . 259

Matisse, Henri. . . . . . . . . . . . . . . . 250-251

Anuszkiewicz, Richard. . . . . . . . . . . . . 49

G

Arad, Ron. . . . . . . . . . . . . . . . . . . . . . . . 215

Giacometti, Alberto . . . . . . . . . . . . . . 252

McCobb, Paul. . . . . . . . . . . . . . . . . . . . 223

Arnoldi, Charles . . . . . . . . . . . . . . . . . . 136

Giffin, Don . . . . . . . . . . . . . . . . . . . . . . . 316

McIntosh, Harrison . . . . . . . . . . . . . . . 107

Graham, Robert . . . . . . . . . . . . . . . . . . 160

McMakin, Roy . . . . . . . . . . . . . . . . 133-134

B

Mayne, Thom . . . . . . . . . . . . . . . . . . . 208

Shulman, Julius. . . . . . . . . . . . . . 238-239 Siegel, Arthur. . . . . . . . . . . . . . . . . . . 240 Smith, Alexis . . . . . . . . . . . . . . . . . . . . 214 Smith, Kiki. . . . . . . . . . . . . . . . . . . . . . . 83 Soldner, Paul . . . . . . . . . . . . . . . . . . . . . 106

Green, Taylor. . . . . . . . . . . . . . . . . . . 15, 17

Millei, John . . . . . . . . . . . . . . . . . . . . . . 216

Bacon, Francis . . . . . . . . . . . . . . . . . . . 165

Greene-Mercier, Marie Zoe . . . . . . . . . 319

Moore, Henry . . . . . . . . . . . . . . . . . . . 253

Baldessari, John. . . . . . . . . . 123-125, 307

Grossman, Greta. . . . . . . . . . . . . . . . . . 105

Moses, Ed. . . . . . . . . . . . . . . . . . . . . 88-90

Sottsass, Ettore . . . . . . . . . . . . . . . . . 273

Motherwell, Robert. . . . . . . . . . . . . . . . . 21

Staprans, Raimonds . . . . . . . . . . 148-149

Muniz, Vik. . . . . . . . . . . . . . . . . . . . . . .206

Steir, Pat . . . . . . . . . . . . . . . . . . . . . . . . 132

Baughman, Milo. . . . . . . . . . . . . . . 66, 103

Sonneman, Robert. . . . . . . . . . . . . . . . . 11

Beer, Franz . . . . . . . . . . . . . . . . . . . . . . 147

H

Bellini, Mario. . . . . . . . . . . . . . . . . . . . . 68

Haffenrichter, Hans . . . . . . . . . . . . . . 254

Bengston, Billy Al. . . . . . . . . . 74-76, 307

Hamrol, Lloyd . . . . . . . . . . . . . . . . . . . . 60

N

Bennett, Ward. . . . . . . . . . . . . . . . . . . . . 51

Hartman, Cedric. . . . . . . . . . . . . . . . . . 52

Natzler, Gertrud & Otto. . . . . . . . 108-113

Harwood, June . . . . . . . . . . . . . . . . . . 9-10

Strombotne, James . . . . . . . . . . . . . . . 116

Bertoia, Harry. . . . . . . . . . . . . . . . 197-199 Bleckner, Ross . . . . . . . . . . . . . . . . . . . 219

Hayward, James . . . . . . . . . . . . . . . . . 315

Nauman, Bruce. . . . . . . . . . . . . . . . . . . 57

Sultan, Donald. . . . . . . . . . . . . . . . . . . . 53

Bluhm, Norman . . . . . . . . . . . . . . . . . 227

Herman, Roger . . . . . . . . . . . . . . . . . . . . . 6

Borofsky, Jonathan. . . . . . . . . . . 135, 307

Hicks, Sheila . . . . . . . . . . . . . . . . . . . . 200

Bowman, Richard . . . . . . . . . . . . . . . . . 318

Hirondelle, Anne . . . . . . . . . . . . . . . . . 26

Breuer, Marcel. . . . . . . . . . . . . . . . 230-231

Hockney, David. . . . . . . . . . . 126-131, 307

Brouws, Jeff . . . . . . . . . . . . . . . . . . . . . 82

Hutten, Richard. . . . . . . . . . . . . . . . . . . 137

Bulmore, Robert. . . . . . . . . . . . . . . . . . 70

C Calder, Alexander. . . . . . . . . . . . . . . . . 191 Carpenter, Arthur Espenet . . . . . 138-140 Casella, Alfred. . . . . . . . . . . . . . . . . . . . 65 Cenedese, Gino. . . . . . . . . . . . . . . . . . 269 Collins, Andy . . . . . . . . . . . . . . . . . . . . . 25 Conner, Bruce . . . . . . . . . . . . . . . . . . . . 54 Coronel, Rafael . . . . . . . . . . . . . . . . . . 263 Corse, Mary. . . . . . . . . . . . . . . . . . . . . 207 Cressey, David. . . . . . . . . . . . . . . . . . . . . 4 Cuevas, Miguel . . . . . . . . . . . . . . . . . . 262

D Dalí, Salvador . . . . . . . . . . . . . . . . . . . . 122 Davie, Alan. . . . . . . . . . . . . . . . . . . . . . . 121 Davis, Gene . . . . . . . . . . . . . . . . . . . . . . 55

Stella, Frank. . . . . . . . . . . . . . . . . . . . . . 35 Stocksdale, Bob . . . . . . . . . . . . . . . . . . 141

Negret, Édgar . . . . . . . . . . . . . . . . . . . 320 Nelson, George. . . . . . . . . . . . . . . . . 5, 7-8

T

Neutra, Richard. . . . . . . . . . . . . . 236-237

Tackett, La Gardo. . . . . . . . . . . . . . . . . . 18

Nevelson, Louise. . . . . . . . . . . . . . 162-164

Tamayo, Rufino . . . . . . . . . . . . . . . . . . 264

Noguchi, Isamu. . . . . . . . . . . . . . . 184-185

Tempestini, Maurizio . . . . . . . . . . . . . . 101

Novakova, Valsta. . . . . . . . . . . . . . . . . . 98

Tobey, Mark . . . . . . . . . . . . . . . . . . . . . . 146

I

Nyquist, John . . . . . . . . . . . . . . . . . 95-96

Twombly, Cy . . . . . . . . . . . . . . . . . . . . . 56

Isermann, Jim. . . . . . . . . . . . . . . . . . . . 217

O

U

J

Okulick, John. . . . . . . . . . . . . . . . . . . . . . 72

Umanoff, Arthur. . . . . . . . . . . . . . . . . . 24

Jacobsen, Arne. . . . . . . . . . . . . . . . 47-48 Jenkins, Paul. . . . . . . . . . . . . . . . . . . . . 67 Johns, Jasper. . . . . . . . . . . . . . . . . . . . 36 Judd, Donald . . . . . . . . . . . . . . . . . . . . 196 Juhl, Finn. . . . . . . . . . . . . . . . . . . . . . . . 46

K Kåge, Wilhelm. . . . . . . . . . . . . . . . . . . . 43

Oldenburg, Claes. . . . . . . . . . . . . . . . . . 29 Olitski, Jules . . . . . . . . . . . . . . . . 228-229

V

Oliveira, Nathan . . . . . . . . . . . . . . . . . . 151

Van Keppel, Hendrik. . . . . . . . . . . . . 15, 17

Onslow Ford, Gordon . . . . . . . . . . 153-157

Vasa (Velizar Mihich). . . . . . . . . . . . . . 69

Orr, Eric . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Vasarely (Yvaral), Jean-Pierre. . . . . . 63

P Paalen, Wolfgang . . . . . . . . . . . . . 142-145

Vasarely, Victor . . . . . . . . . . . . . . . . . . 62 Venturi, Robert. . . . . . . . . . . . . . . . . . 274 Vicente, Esteban. . . . . . . . . . . . . . . . . . 20

Kaldis, Aristodimos . . . . . . . . . . . . . . . 317

Pesce, Gaetano. . . . . . . . . . . . . . 270-272

Kami, Y.Z.. . . . . . . . . . . . . . . . . . . . . . . . 158

Pettibon, Raymond. . . . . . . . . . . 201-203

W

Kaneko, Jun. . . . . . . . . . . . . . . . . . . 99-100

Picasso, Pablo. . . . . . . . . . . . . . . 244-249

Warhol, Andy. . . . . . . . . . . . . . . . . . . . . 27

Kanemitsu, Matsumi. . . . . . . . . . . . . . . 64

Ponti, Gio. . . . . . . . . . . . . . . . . . . 267-268

Weber, KEM. . . . . . . . . . . . . . . . . . 173-175

Kaplan, Stan . . . . . . . . . . . . . . . . . . . . 226

Price, Ken. . . . . . . . . . . . . . . . . . . . . 84-87

Wegner, Hans J.. . . . . . . . . . . . . . . . 39-42

Kelley, Mike . . . . . . . . . . . . . . . . . . . . . 204

Probber, Harvey . . . . . . . . . . . . . . 12, 225

Weir-Quiton, Pamela. . . . . . . . . . . . . . . 104

Davis, Ronald. . . . . . . . . . . . . . . . . . . 59, 61

Kelly, Ellsworth . . . . . . . . . . . . . . 186, 265

Diebenkorn, Richard . . . . . . . . . 150, 307

Kemény, Zoltán. . . . . . . . . . . . . . . . . . . 120

R

Wight, Frederick . . . . . . . . . . . . . . . . . . . 91

Dine, Jim . . . . . . . . . . . . . . . . . . . 287-288

Kitaj, R.B.. . . . . . . . . . . . . . . . . . . . . . . 289

Rauch, Neo . . . . . . . . . . . . . . . . . . . . . 205

Wilkes, Ray . . . . . . . . . . . . . . . . . . . . . . . 71

Donovan, Tara. . . . . . . . . . . . . . . . . . . . 210

Knoll, Florence . . . . . . . 188-190, 192-194

Rauschenberg, Robert. . . 283-286, 307

Witkin, Joel-Peter. . . . . . . . . . . . . . . . . 310

Dzama, Marcel. . . . . . . . . . . . . . . . . . . . 180

Koons, Jeff . . . . . . . . . . . . . . . . . . . . . . 213

Register, John. . . . . . . . . . . . . . . . 241-242

Woelffer, Emerson. . . . . . . . . . . . 275-282

Koppel, Henning. . . . . . . . . . . . . . . . . . 45

Reinhardt, Ad . . . . . . . . . . . . . . . . . . . . 195

Wojtyna-Drouet, Krystyna . . . . . . . . . 97

Richter, Gerhard . . . . . . . . . . . . . . . . . . 58

Wood, Beatrice . . . . . . . . . . . . . . . . . . . 179

Rivera, Diego . . . . . . . . . . . . . . . . . . . . 261

Wood, Jonas . . . . . . . . . . . . . . . . . . . . . . 16

Rivers, Larry. . . . . . . . . . . . . . . . . . . 37-38

Wou-Ki, Zao . . . . . . . . . . . . . . . . . . . . 260

Lane, Doyle . . . . . . . . . . . . . . . . . . . . . . 117

Rohde, Gilbert. . . . . . . . . . . . . . . . 176-178

Wright, Frank Lloyd. . . . . . . . . . . . 170-172

László, Paul. . . . . . . . . . . . . . . . . . 181-183

Rosenquist, James . . . . . . . . . . . . . . . 28

Ferebee, Chris. . . . . . . . . . . . . . . . . . . . 218

LaVerne, Philip & Kelvin. . . . . . . . . . . 220

Rosenthal, Bernard “Tony”. . . . . . . . . 22

Fine, Charles. . . . . . . . . . . . . . . . . 221-222

Lichtenstein, Roy . . . . . . . . . . . . . . 30-33

Rothman, Jerry . . . . . . . . . . . . . . . 311-312

Finkelstein, Max . . . . . . . . . . . . . . . . . . 23

Lukens, Glen . . . . . . . . . . . . . . . . . . 118-119

Ruscha, Ed. . . . . . . . . . . . . . . . . . . . . 77-81

E

Kuhn, Mona . . . . . . . . . . . . . . . . . . . . . . 161

Eames, Charles & Ray . . . . . . . . . . . . . 1-3 Engel, Jules . . . . . . . . . . . . . . . . . . . . 209

L

Evergood, Philip . . . . . . . . . . . . . . . . . . 166

Lamb, Walter. . . . . . . . . . . . . . . . 290-306

F

Wesselmann, Tom . . . . . . . . . . . . . . . . 34

Z Zajac, Jack. . . . . . . . . . . . . . . . . . . . . . 152 Zammitt, Norman. . . . . . . . . . . . . . . . . 50

atmosphere for enjoyment Harry Bertoia’s environment for sound

bent, cast & forged tHe Jewelry of Harry Bertoia maY 3 to SeptemBer 25, 2016

museum of arts and design Jerome and Simona Chazen Building / 2 ColumBuS CirCle, nYC / madmuSeum.org Support for Atmosphere for Enjoyment: Harry Bertoia’s Environment for Sound is generously provided by Nanette L. Laitman; Kay Bucksbaum; KLM Royal Dutch Airlines, the Official Airline of MAD; Joy and Allan Nachman; Kim and Al Eiber; Siegelson, New York; The Rotasa Foundation; Wright; and Barbara Fleischman.

Support for Bent, Cast & Forged: The Jewelry of Harry Bertoia is generously provided by Nanette L. Laitman; Kay Bucksbaum; KLM Royal Dutch Airlines, the Official Airline of MAD; Joy and Allan Nachman; Kim and Al Eiber; Siegelson, New York; The Rotasa Foundation; Wright; and Barbara Fleischman.

MAD gratefully acknowledges the in-kind support of Knoll, Inc. Bertoia Barn, Barto, PA, 1975. Photo by and courtesy of Beverly H. Twitchell.

Now Accepting Consignments

PETER LOUGHREY, DIRECTOR | 16145 HART STREET, VAN NUYS, CA 91406 | 323-904-1950 | LAMODERN.COM

los angeles modern auctions

FALL 2016

los angeles modern auctions

AD REINHARDT / ABSTRACT PAINTING (1958) / ESTIMATE: $300,000–500,000

los angeles modern auctions los angeles modern auctions los angeles modern auctions los angeles modern auctions los angeles modern auctions los angeles modern auctions

223

INFORMATION

DIRECTIONS TO AUCTION & PREVIEW

STAFF

Auction

Peter Loughrey

Sunday, May 22, 2016

From Hollywood

12pm (PT)

■■

Make your way to the 101 Freeway

■■

Proceed North on the 101

Shannon Loughrey

Preview

■■

Merge onto the 405 Freeway, north

Managing Director

May 9–21, 2016

■■

Take the 4th exit onto “Sherman

10am—6pm (PT) Address

Way, west”

Elizabeth Portanova

■■

Proceed west on Sherman Way

Marketing Director

■■

Turn left at the 3rd light onto

16145 Hart Street Van Nuys, CA 91406

Director, Modern Art & Design

■■

“Woodley”

Zoe Weinberg

Take the first right onto “Hart”

Fine Art Specialist

street, which is a side street Telephone

Website

Carolina Ivey From the Westside

Client Services

■■

Take the 405 Freeway, north

■■

Continue past the Getty Museum

Clo Pazera

and the 101 Interchange

Consignor Services

LAMODERN.com ■■

Exit onto “Sherman Way, west”

■■

(this is 4 exits North of the 101)

Joe Alascano

■■

Proceed west on Sherman Way

Shipping

■■

Turn left at the 3rd light

■■

onto “Woodley”

Forrest Petterson

Take the first right onto “Hart”

Assistant to the Director

street, which is a side street Elizabeth Gartner Assistant to Marketing Director

Photography by Mario de Lopez e

323.904.1950

Susan Einstein Essays by Greg Cerio

Hollywood